Francesca Peschier discovers polyamory and queer domesticity in a current-feeling revival of Kevin Elyot’s 1982 play.
Let them eat cake: Brendan Macdonald reviews Oliver Cotton’s new play.
‘An injury to one is the concern of all’: Francesca Peschier reviews Kieran Hurley’s new show.
Maracas ’n’ all: Sally Hales reviews Matthew Dunster’s Mexican Much Ado About Nothing.
The isolation of the young and the lost: Gillian Greer reviews the 20th anniversary production of Enda Walsh’s first play.
Patties of human flesh: Hannah Greenstreet can’t get the smell of cooking meat out of her nostrils after Sarah Kosar’s “visceral, disgust-provoking” two-hander.
A very specific evolutionary niche: Ka Bradley reviews Figs in Wigs at the Battersea Arts Centre.
“The best theatre ideas are often remarkably simple”: Duska Radosavljevic watches some toddlers crawl about on a giant, animation-filled screen at Imaginart’s Sensacional.
How did you get your scar? Hannah Greenstreet reviews a new play about Yarlswood Immigration Removal Centre.
Existentialism and farts: Duška Radosavljević reviews Made in China’s slime-filled show.
We couldn’t, and yet, we do: Ka Bradley reviews les ballets C de la B performing Alain Platel’s work inspired by Gustav Mahler.
Sharp, zeitgeist-y, and sometimes moving: Gillian Greer reviews the problematic European premiere of Taylor Mac’s New York smash-hit Hir.
Sputters and spins like a dodgy Sputnik: Anna Winter reviews the new work by Alexander Whitley combining dance with solar physics.
Cave-man fervour: Francesca Peschier reviews a one-man musical about Fathers4Justice.
Lively and refreshing: Rachel Elderkin reviews the New English Ballet Theatre performing The Four Seasons and Other Modern Ballets.