How did you get your scar? Hannah Greenstreet reviews a new play about Yarlswood Immigration Removal Centre.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.
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.
It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.
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.
“It’s hack-work, pure and simple”: Stewart Pringle on Julian Fellowes’ insipid musical version of Kenneth Grahame’s classic.
We too are thieves: Brendan Macdonald reviews Audra McDonald as Billie Holiday.
Britain’s best-selling fish-and-chip-wrapper: Fergus Morgan reviews James Graham’s new play about the Sun.
Add a cupboardful of theatrical tropes: Hannah Greenstreet writes a recipe review of Steve Rogers’ play, which is set in a takeaway.
Arjun Sajip reviews de Roovers’ eccentric but fun version of Arthur Miller.
An empty philosophical exercise: Corrie Tan isn’t impressed by the “flat, dry” UK premiere of Ferdinand von Schirach’s globe-trotting interactive play.