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.
We are all aliens: Corrie Tan reviews Tim Foley’s “science fiction on a shoestring” play.
It’s not enjoyable theatre… but it is important theatre: Fergus Morgan reviews Crew For Calais’ double-bill at Vault festival.
A story of hope and humour: B. L. Sherrington reviews the UK premiere of Kirsten Childs’ musical.
That guy on the tube playing music from his phone… Bojana Jankovic reviews the UK premiere of Matei Visniec’s surreal comedy.
The banal domestic details of everyday life rendered strangely beautiful: Anna Winter reviews Tanztheater Wuppertal Pina Bausch.
A false sanctuary: Rebecca Latham reviews Alex MacKeith’s new work about the failing education system.
“Because I want to be rich!” Holly O’Mahony reviews Carmen Nasr’s new work about the inequality underpinning Dubai.
Through the veins of a broken old house in Brighton: Gillian Greer reviews Jolie Booth’s new show at the Vault Festival 2017.
A smorgasbord of toothsome choreographic morsels: Anna Winter reviews Sadler’s Wells’ preview programme for 2017.
‘Mouse Toilet’, ‘Blood Army’, and ‘Road Queen’: Corrie Tan reviews ImmerCity’s immersive production at the Vaults Festival 2017.
Takes on an honesty all of its own: Gillian Greer reviews James Rowland’s “twinkle-eyed telling of an untrue love story”.
What Nigel Farage would probably call ‘rampant socialism’: Gillian Greer reviews Arthur Darvill and Sam Holcroft’s adaptation of Roald Dahl.
A worryingly alluring lifestyle choice: Sally Hales reviews Jamie Lloyd’s new production of Philip Ridley’s debut play.