The familiar and the everyday: Daniel Perks reviews Julie Rose Bower’s performance at NOW17.
The thrill of the possible: Ka Bradley reviews Cul de Sac, Lumo Company and Feet Off the Ground Dance on the final night of Resolution 2017.
The rest is silence: Rosemary Waugh reviews Robert Icke’s production of Hamlet, starring Andrew Scott.
Exploding brains and bunnies in binaural: Sally Hales goes deep inside Shoreditch Town Hall for the premiere of Philip Ridley’s new work.
A sophisticated piece that’s ultimately about belonging: Brendan Macdonald reviews Stephen Karam’s play about three teenage misfits.
Daniel Perks finds all the fun of the fair – and some poignancy, too – in Visible Theatre’s circus-style look at sex and ageing.
Becoming an activist: B. L. Sherrington reviews a new play based on the true story of the first British-Asian Suffragette.
From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre’s revival of Clare McIntyre’s Low Level Panic.
The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.
Come Dine With Me, Take II or, What Happened Next: Daniel Parks reviews Greg Wohead and Rachel Mars’ performance at NOW17.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
A mixed bag, but a thoroughly engaging watch: Mary Halton reviews Tristan Bernays’ updating of biblical tales at the Vault festival.
Inspired by Vanessa Macaulay’s performance of How To Come Out Black at NOW festival, Daniel Perks offers some guidelines on how to create a satirical, multimedia performance that proves a point.