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.
A frightening picture, but not one it feels we’re on the verge of entering: Simon Gwynn reviews Theatre Ad Infinitum’s Light on its return to Battersea Arts Centre.
Desperation and fragility: Daniel Perks on a revival of the 1973 play about life on Apartheid-era Robben Island.
“One of the hardest things for boys to learn is that a teacher is human…” Fergus Morgan reviews Matt Parvin’s play about the class clown and his former teacher.
A tapestry of unrelenting sound: Gillian Greer reviews Nigel and Louise’s tribute to Margate.
Losing faith: Amy Borsuk reviews a production of Othello with religion as its core.
And we all get badges! Gillian Greer reviews Idiot Child’s lecture/workshop/boot camp designed to relieve us of our innermost fears.
A vortex of visibility and vulnerability: Anna Winter reviews Project O at Sadler’s Wells.
The baby and the bath water and the whole, cast-iron bath: Fergus Morgan reviews a slightly overwrought production of Mark Weinman’s debut play.
A revolving door of middle-aged white men: Sally Hales reviews Mehmet Ergen’s “strangely incoherent” production.
Cosy and humble: Amy Borsuk whets her appetite with Glyn Maxwell’s stage adaptation of Karen Blixen’s 1958 short story, but leaves wanting more.
Survival mode: B. L. Sherrington reviews the stage adaptation of Emma Donoghue’s novel.
Performances by Adjoa Andoh and Kenneth Omole “are easily the highlight” of Assata Taught Me. Review by Bridget Minamore.