It’s all me, me, me: Miriam Gillinson reviews Branden Jacobs-Jenkins’ play set in the publishing industry.
A fragrant physical echo chamber: Anna Winter reviews a mixed bill of works performed by the Richard Alston Dance Company.
The millennial sense of entitlement: Brendan Macdonald reviews Poor Michelle as part of Incoming Festival 2017.
A stand-up tragedy act: Brendan Macdonald reviews Pub Corner Poets at Incoming Festival 2017.
Gruff grunts, brash insults and fisticuffs: Brendan Macdonald reviews Theatre N16’s production of John Patrick Shanley’s play.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
A living, breathing, contradictory thing: Brendan Macdonald reviews Ponyboy Curtis’ new work at The Yard.
An exuberant, unflagging evening of entertainment: Arjun Sajip reviews Sleeping Trees’ double bill at Incoming festival.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.
A well-rounded, uplifting story: Holly O’Mahony warms to Scratchwork Theatre’s Nel at the New Diorama’s Incoming Festival.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.