“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.
There’s more to life than life on earth: Francesca Peschier reviews Andrew Thompson’s new play about space travel and families.
The duality of space, or how not to catch a Lapras: Ka Bradley reviews Charlotte Spencer Projects’ immersive piece on a disused site near London City Airport.
The miracle of unburdening yourself: Hailey Bachrach reviews Angela Clerkin’s “gothic fairytale”.
A very lovely play in lots of very lovely ways: Miriam Gillinson reviews David Eldridge’s new play about the start of a relationship.
“Like stumbling, joyously stoned, through Camden Market”: Francesca Peschier takes a trip into The Vaults to review Johnathan O’Boyle’s fully immersive revival of Hair.
Sex in a mouse onesie: Francesca Peschier reviews a new comedy by David Ireland.
A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
‘Oh, Jeremy Corbyn!’ Alice Saville reviews James Graham’s play about the Labour party.
“An intriguing, cerebral and destabilizing piece of theatre”: Brendan Macdonald on Vicky Featherstone’s production of Chris Thorpe’s bold new two-hander.
“So this is what happens when the manic pixie dream girl grows up”: Holly Williams on the cliché-ridden romance of Simon Stephens’ new play.
If you just really, really want to run around pretending you’re a vampire, this is for you: Ka Bradley reviews immersive theatre by Hammer House of Horror.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.
Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome.
The hands and their gaze: Rohanne Udall a performance of three works by Hema Bharathi Palani, Ronita Mookerji and Emma Jayne Park.