A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
A well-rounded, uplifting story: Holly O’Mahony warms to Scratchwork Theatre’s Nel at the New Diorama’s Incoming Festival.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.
A vivid and colourful soundscape: Brendan Macdonald reviews the latest production from Silent Opera.
A frightening picture, but not one it feels we’re on the verge of entering: Simon Gwynn reviews Theatre Ad Infinitum’s Light on its return to Battersea Arts Centre.
Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.
Desperation and fragility: Daniel Perks on a revival of the 1973 play about life on Apartheid-era Robben Island.
A gothic vaudevillian circus: Francesca Peschier reviews Sally Cookson’s version of Fellini’s masterpiece.
So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.
Wall to wall pressure: Rosemary Waugh reviews Jack Thorne’s new version of Woyzeck.
“One of the hardest things for boys to learn is that a teacher is human…” Fergus Morgan reviews Matt Parvin’s play about the class clown and his former teacher.
Issue-driven theatre: Fergus Morgan reviews Charlotte Josephine’s play about internet porn.
A tapestry of unrelenting sound: Gillian Greer reviews Nigel and Louise’s tribute to Margate.