It’s just one interpretation: Holly Williams on Imogen Knight’s “sensuously rich” production of Simon Stephens’ new play.
Uneven, albeit thought-provoking: Victoria Willing’s new three-hander gets lost on the battlefields of the Somme, says Francesca Street.
Cognitive dissonance: Emma Smith reviews Katie Bonna’s one-woman show about lying.
A stage awash with blood and smoke: David Ralf delves into the uneasy moralities at play in Jamie Lloyd’s production of Rajiv Joseph’s brutal two-hander.
Ka Bradley reviews the Hong Kong Dance Company’s underwhelming staging of an ancient folktale.
Eleanor Turney gets into the spirit of things with a shit-faced review of Shit-faced Shakespeare.
“Once you are real, you can never be ugly except to those who don’t understand.” B. L. Sherrington reviews the Unicorn Theatre’s staging of The Velveteen Rabbit.
“A profoundly imaginative, sad and humorous exploration of agony and loss, of meaning and its absence”. Anna Winter reviews Crystal Pite’s dance-theatre piece.
Neil Bartlett brings to life “infuriating bureaucratic non-speak” in his adaptation of Albert Camus’s La Peste.
A much more exciting party: Holly O’Mahony swims in the undercurrents of Bill Rosenfield’s transferred two-hander.
The idealism of childhood dreams: B. L. Sherrington finds love in this musical adaptation of Dodie Smith’s 1948 novel.
David Hare might hate it, but he’d be wrong: Sally Hales exalts in Declan Donnellan’s directorial vision for this problematic play.
Like Brideshead without the grief: Anna Winter reviews a revival of Matthew Bourne’s younger creations.
Sunny side up: Holly O’Mahony contemplates 42nd Street’s escapism amid 2017’s political turbulence.
The Joe Hill-Gibbins Problem: Sally Hales reflects on Marivaux’s eighteenth-century rom-com.