Raucous, colourful and exhilarating: Simon Gwynn reviews Matthew Dunster and Timothy Sheader’s al fresco adaptation of Dickens’ classic novel.
The price of buying a baby: Bridget Minamore reviews Vivienne Franzmann’s new play about surrogacy.
Going round the houses: Rosemary Waugh reviews Helen Edmundson’s play about the British monarch.
A very specific evolutionary niche: Ka Bradley reviews Figs in Wigs at the Battersea Arts Centre.
“The best theatre ideas are often remarkably simple”: Duska Radosavljevic watches some toddlers crawl about on a giant, animation-filled screen at Imaginart’s Sensacional.
Extraordinary risk, ordinary outcome: William Drew reviews the RSC’s bold collaboration with Imaginarium Studios.
Inspired by Klanghaus’s 800 Breaths, Maddy Costa embarks on a lyrical exploration of music in theatre.
Humans and history books: Rosemary Waugh reviews Taha at the Young Vic as part of the Shubbak Festival.
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.