“Once upon a time…” Arjun Sajip reviews Lilac Yosiphon’s play about long-distance relationships during wartime.
Hits the contemporary spot: Amelia Forsbrook reviews Sean Foley and Phil Porter’s adaptation of Molière.
A sense of teenage spirit: Rebecca Latham reviews a revival of Jack Thorne’s Bunny.
A child-like and vulnerable creature: B. L. Sherrington reviews Tristan Bernay’s adaptation of Frankenstein.
An amuse bouche of a political documentary: Corrie Tan reviews the National Theatre’s response to Brexit.
The excuse is the faintness of memory: Tim Bano reviews Travesties (with diagrams, footnotes and poetry).
Strips the drama down to its essence: Fergus Morgan reviews Imelda Staunton and Conleth Hill in Edward Albee’s portrait of marital dysfunctionality.
The unsettling feeling of studying the alchemy of love: Gillian Greer reviews debbie tucker green’s new play at the Royal Court.
An act of splicing and dicing: Anna Winter reviews Wayne McGregor’s contemporary dance work based on the book by Jonathan Safran Foer.
An absurdity rooted in real life: Brendan Macdonald reviews the staging of three works by B.S. Johnson.
A compelling political debate about the heart and soul of the British left: Fergus Morgan reviews the world premiere of Steve Waters’ new play about the Limehouse declaration.
An honest account of heritage and prejudice: Daniel Perks reviews Joe Sellman-Leava’s one-man show at Vault festival 2017.
The 1970s in brown and orange: Rosemary Waugh reviews the UK premiere of Marielle Heller’s stage adaptation of The Diary of a Teenage Girl.
Eye opening: Daniel Perks reviews Oli Forsyth’s empathetic look at homelessness at this year’s Vault festival.
The atemporality of grief: Ka Bradley reviews Stopgap Dance’s work about the passage of mourning.