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.
“The first pretend Tory I’ve ever almost-liked.” Gillian Greer reviews Stephen Brown’s new play about MP Rory Stewart.
Surprisingly stagnant: Brendan Macdonald reviews the UK premiere of Alexandra Badea’s award-winning play about the effects of globalisation.
Sound issues aside, Eleanor Turney still has a “highly entertaining” evening with the Park Theatre’s staging of Jonathan Larson’s early musical.