Heartache: Rafaella Marcus reviews Kneehigh Theatre at the Globe.
The here and now: William Drew reviews the transfer of Robert Icke’s Hamlet to the Harold Pinter Theatre.
The millennial sense of entitlement: Brendan Macdonald reviews Poor Michelle as part of Incoming Festival 2017.
A stand-up tragedy act: Brendan Macdonald reviews Pub Corner Poets at Incoming Festival 2017.
Gruff grunts, brash insults and fisticuffs: Brendan Macdonald reviews Theatre N16’s production of John Patrick Shanley’s play.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.
The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
A living, breathing, contradictory thing: Brendan Macdonald reviews Ponyboy Curtis’ new work at The Yard.
An exuberant, unflagging evening of entertainment: Arjun Sajip reviews Sleeping Trees’ double bill at Incoming festival.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.