A divine and dirty awakening: Brendan Macdonald reviews the gospel according to Lucy McCormick
The yes-no of it: Corrie Tan reviews Nina Raine’s “exquisitely devastating” new play.
Old habits die hard: Fergus Morgan reviews Cressida Carrré’s all-female production of Posh.
A wet mist or haze coming inland from the sea: Arjun Sajip reviews Tallulah Brown’s new play at the Old Red Lion.
A heavy hangover from the 70s: Holly O’Mahony reviews the revival of The Life at Southwark Playhouse.
Fergus Morgan attends Paul Mason’s attempt to explain the state of the world in 2011-2017, but leaves with as many questions as answers.
The opening and shutting of doors: Daniel Perks reviews David Henry Hwang’s comedy about Americans doing business in China.
Familiar territory revisited with humour and pathos: Laura Gilbert reviews Ian Hislop and Nick Newman’s play about a satirical newspaper in WWI.
An absolute bastard, but a charming one: Eleanor Turney reviews David Tennant in Patrick Marber’s update of Molière.
As darkly sexual and symbolically rich as an Angela Carter story: Ka Bradley reviews the ENB’s triple bill including Pina Bausch’s The Rite of Spring.
Raw and new and believable: Rafaella Marcus and David Ralf team up to produce a long-form review of Ivo van Hove’s six-hour Roman Tragedies.
“Home is not where you are born; home is where all your attempts to escape cease.” Daniel Perks reviews Inua Ellam’s spoken word performance.
Caught between a weighty Rattigan drama and a fizzy feel-good farce: Brendan Macdonald reviews Trevor Nunn’s combining of Less than Kind and Love in Idleness.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
First love: Holly O’Mahony reviews Stephen Laughton’s play about identity and loss.