Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.
Fine-tuned absurdity: Simon Gwynn reviews the return of David Grieg’s stage adaptation of Dr Seuss to the Old Vic.
People watching: Rosemary Waugh reviews the UK tour of Clod Ensemble’s work placing humans behind glass.
A flirtatious, provoking piece: Ka Bradley reviews Eun-Me Ahn’s work exploring identity and androgyny at Dance Umbrella 2017.
Me, Also Me, Placatory Me, Non-Judgemental Me and Impatient Me: Maddy Costa on Chris Thompson’s new play about surrogacy.
First farce, then tragedy: Tim Bano on Richard Bean’s knockabout capitalism comedy.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
Who said what? Francesca Peschier reviews Terry Johnson’s play featuring Albert Einstein and Marilyn Monroe.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
“Kept separate by the chasm of the centuries”: Daniel Perks reviews Elizabeth Kuti’s trio of detached monologues set on the Suffolk Coast at Finsbury Park’s Park Theatre.
Simeon loves Marcia loves Konstantin loves Nina loves Boris loves Irina loves herself: Annegret Marten reviews Simon Stephens’ new version of Chekhov.
Good state-of-the-nation stuff: Fergus Morgan reviews Mike Bartlett’s new play at the Almeida.
A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
Plenty to unpick: Anna Winter reviews Shobana Jeyasingh’s take on Marius Petipa’s La Bayadere.
I mean, at least you’d have a woman’s voice… Adelaide Waldrop and Brendan Macdonald record their post-show discussion about David Ives’ play.