Show me the knottiness: Marc Pell’s gig-theatre show for nabokov doesn’t embrace its audience enough.
‘Bodies fold into each other only to be ripped apart’: Rachel Nouchi reviews Nederlands Dans Theater performing four works by Sol León & Paul Lightfoot, Marco Goecke, and Crystal Pite.
Be not afeared: Iris Theatre’s promenade production is fun, if you take the rough with the smooth.
Tiny gods for a moment… and the source of highly acidic shit: William Drew reviews lots and lots of pigeons.
Ebullient vitality and energy: J.N. Benjamin reviews Mufaro Makubika’s Nottingham-set play.
‘Here I am, and they’re eating me’: Ka Bradley reviews a dance work that makes use of virtual reality technology.
‘Margot didn’t lend Elle her lucky scrunchie to be almost entirely written out of the narrative’: Francesca Peschier reviews the stage version of the classic (CLASSIC) film.
‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
Hope, comedy, violence and suffering: Rotimi Babatunde’s stage adaptation of Lola Shoneyin’s novel is a sweet show that leaves a sour taste.
Messy, flawed, slippery: Rosemary Waugh on an intriguing revival of Sophie Treadwell’s 1928 play.
‘Like any fairground ride, Phobiarama is not subtle’: Alice Saville rides Dries Verhoeven’s ghost train at LIFT 2018.
“Deeply meaningful theatre”: Paterson Joseph’s one-man play about the first black man to vote in Britain is rich and resonant.
A need for connection: Berri George’s new play centres on two graffiti-obsessed, thrill-seeking teenagers.
‘Comforting and clinical textures’: Josephine Balfour-Oatts reviews Anthony Neilson’s production of two plays by Lars Norén.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.