The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.
Come Dine With Me, Take II or, What Happened Next: Daniel Parks reviews Greg Wohead and Rachel Mars’ performance at NOW17.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
A mixed bag, but a thoroughly engaging watch: Mary Halton reviews Tristan Bernays’ updating of biblical tales at the Vault festival.
Inspired by Vanessa Macaulay’s performance of How To Come Out Black at NOW festival, Daniel Perks offers some guidelines on how to create a satirical, multimedia performance that proves a point.
Proof that political satire can still have teeth: Sally Hales reviews the world premiere of Oladipo Agboluaje’s New Nigerians.
Ferociously balletic bulls: Anna Winter reviews the start of Sadler’s Wells’ Flamenco Festival with performances from Israel Galván and Eva Yerbabuena.
A wide-eyed discovery of the world: Corrie Tan reviews Superbolt Theatre’s new play about a group of martians.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.
No-one escapes bringing their baggage to bed with them: Arjun Sajip reviews Max Gill’s adaptation of La Ronde.
The victims and perpetrators of violent crime: B. L. Sherrington reviews Brave Badger’s new verbatim play.
Reads like a revisitation of the Choose Life monologue: Amelia Forsbrook reviews Brad Birch and Kenneth Emson’s “cracking collaborative mastery”.
A spirit and optimism that goes against its drab, desperate, wipe-clean-vinyl-coated setting: Amelia Forsbrook reviews Interval Production’s show about two friends in a women’s hostel.
Beyond words: Rachel Elderkin reviews the ZfinMalta Dance Ensemble’s U.K. debut.