Love and land: Rosemary Waugh reviews Peter Gill’s painfully realistic picture of a relationship
You don’t get it, but you listen: all good artists are dead’s second show is an incomprehensible rave.
A discombobulatingly epic bit of stage design: Rosemary Waugh reviews the theatre version of Astro Boy
I’ve met these blokes before. Each of them a different type of man: Henry Gleaden responds to Boys at Vaults.
Don’t try and tell us it’s his jive dancing: Francesca Peschier reviews Cassie McFarlane & Adrian Hope’s play about Eletha Barrett and Peter Finch
Sexting with James Joyce: Rosemary Waugh reviews My Kind of Michael and Your Sexts Are Shit, as part of NOW18.
Reset and start again: Hailey Bachrach reviews the premiere of Stephanie Jacob’s family comedy
Full of teenage melodrama: Ed Nightingale reviews the shortened version of Alan Ayckbourn’s dystopian epic (and it’s still a disappointment).
The line between real and fake: Nabilah Said reviews Breach Theatre’s new work about preparing for an emergency.
Wrong number: Ian Bonar’s hundred-mile-an-hour show could benefit from some silence.
Closures, consolidation, and restructuring: Dave Fargnoli reviews a re-fashioning of John Dryden’s Aureng-zebe.
Hail Hytner! Nick’s immersive Shakespeare overcomes its own innate lameness triumphantly.
Rosemary Waugh reviews the premiere of Simon Longman’s brutal, bloody and foreboding rural play.
Sparkling moments and a bewildering storyline: Ka Bradley reviews The Guild of Misrule and Theatre Deli’s immersive show based on Peter Pan.
Renders the inevitable clichés ‘hollow and cartoonish’: Paul Hughes reviews The Araniello Show, on as part of NOW18.