Show me the knottiness: Marc Pell’s gig-theatre show for nabokov doesn’t embrace its audience enough.
‘Theatre as a kind of utopia’: Duška Radosavljević reviews Taylor Mac as part of LIFT 2018.
‘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.
“Be a lady”: Maddy Costa reviews the Wooster Group’s staging of when Normal Mailer met with 1970s feminists.
Edges, borders, barbed wire: Cordelia Lynn’s bomb attack drama explores the ethics of keeping safe.
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.
Power zaps like an electric current… Maddy Costa reviews Back to Back Theatre, as part of LIFT 2018.
‘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.
‘The broken among us teach us to be human’: Duška Radosavljević reviews Anna Deavere Smith’s verbatim show as part of LIFT 2018.
‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
Defiance is at the heart of its genius: J.N. Benjamin reviews the National Theatre transfer of Branden Jacobs-Jenkins’s play.
‘We’re all Beverlys here’: Ka Bradley reviews Rhiannon Faith’s dance-based work about domestic abuse.