Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.
Gallows humour: Lee Anderson reviews Chris Thorpe & Jon Spooner’s show about shuffling off the mortal coil.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.
Images of trauma: Corrie Tan on a didactic revival of Brecht’s classic, starring comedian Josie Lawrence.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.
“Smart, sharp and exhilarating”: Brendan Macdonald reviews Thomas Eccleshare’s thrillingly tricksy two-hander about the stories behind the stories.
A tender chemistry: Corrie Tan reviews the premiere of Stewart Pringle’s Papatango Prize-winning play.
Wartime ennui: Brendan Macdonald reviews a stage adaptation of Patrick Hamilton’s novel.
I want to tell her the baby does stop crying, eventually: Maddy Costa reviews the UK premiere of Magali Mougel’s play about motherhood.
People watching: Rosemary Waugh reviews the UK tour of Clod Ensemble’s work placing humans behind glass.
A flirtatious, provoking piece: Ka Bradley reviews Eun-Me Ahn’s work exploring identity and androgyny at Dance Umbrella 2017.
Me, Also Me, Placatory Me, Non-Judgemental Me and Impatient Me: Maddy Costa on Chris Thompson’s new play about surrogacy.
Who said what? Francesca Peschier reviews Terry Johnson’s play featuring Albert Einstein and Marilyn Monroe.
“Kept separate by the chasm of the centuries”: Daniel Perks reviews Elizabeth Kuti’s trio of detached monologues set on the Suffolk Coast at Finsbury Park’s Park Theatre.
Simeon loves Marcia loves Konstantin loves Nina loves Boris loves Irina loves herself: Annegret Marten reviews Simon Stephens’ new version of Chekhov.