The profound absurdity of identity: Told By An Idiot’s new show makes Napoleon feel very British.
If in doubt, get naked and jump on the table: Terry Johnson’s tribute to Ken Campbell has lessons for life as well as theatre.
Where the wild things are: Coney’s new show immerses you in the imaginations of children.
The aches and pains of long-term love: Rosemary Waugh reviews Lost Dog’s new show about Shakespeare’s lovers all grown up.
‘This is not the end’: Hannah Greenstreet reviews an attempt at starting a feminist revolution inside a theatre.
The myth of childhood innocence: Brendan Macdonald reviews Monica Dolan’s monologue about a mother giving her child what she thinks she wants.
Remains thoroughly caffeinated: Simon Gwynn reviews Philip Ridley’s new series of six monologues.
Francesca Peschier reviews John O’Donovan’s “envy-inducing” debut play, in all its “butterfly brilliance”.
You don’t get it, but you listen: all good artists are dead’s second show is an incomprehensible rave.
A discombobulatingly epic bit of stage design: Rosemary Waugh reviews the theatre version of Astro Boy
I’ve met these blokes before. Each of them a different type of man: Henry Gleaden responds to Boys at Vaults.
Don’t try and tell us it’s his jive dancing: Francesca Peschier reviews Cassie McFarlane & Adrian Hope’s play about Eletha Barrett and Peter Finch
Sexting with James Joyce: Rosemary Waugh reviews My Kind of Michael and Your Sexts Are Shit, as part of NOW18.
The line between real and fake: Nabilah Said reviews Breach Theatre’s new work about preparing for an emergency.
Wrong number: Ian Bonar’s hundred-mile-an-hour show could benefit from some silence.