“Home is not where you are born; home is where all your attempts to escape cease.” Daniel Perks reviews Inua Ellam’s spoken word performance.
First love: Holly O’Mahony reviews Stephen Laughton’s play about identity and loss.
Honest and brave: Rachel Elderkin reviews Company Chameleon’s new double bill exploring metal health and bipolar disorder.
The juvenile nature of war: Corrie Tan reviews Yellow Earth Theatre’s production of Tamburlaine.
Deliberately timeless: Francesca Street reviews Matthew Whittet’s “hopeful, nostalgic love letter to adolescence”.
Southern Spain is miraculously delivered to south London: Anna Winter reviews Flamenco Express in Peckham.
“Here is a space, a space to make.” Ka Bradley reviews James Cousins’ take on As You Like It.
Beige bodystockings and Super Ted: Anna Winter reviews a new triple bill of works danced by Sergei Polunin at Sadler’s Wells.
A beautiful, addictive world: Rebecca Latham reviews April de Angelis’s adaptation of Elena Ferrante’s Neapolitan novels.
An evocative minefield of violence, sexuality and loneliness: Brendan Macdonald reviews Scottee’s new show about working class masculinity.
“Once upon a time…” Arjun Sajip reviews Lilac Yosiphon’s play about long-distance relationships during wartime.
A sense of teenage spirit: Rebecca Latham reviews a revival of Jack Thorne’s Bunny.
A child-like and vulnerable creature: B. L. Sherrington reviews Tristan Bernay’s adaptation of Frankenstein.
An act of splicing and dicing: Anna Winter reviews Wayne McGregor’s contemporary dance work based on the book by Jonathan Safran Foer.
An absurdity rooted in real life: Brendan Macdonald reviews the staging of three works by B.S. Johnson.