Hailey Bachrach reviews a flapper-era adaptation of Shakespeare’s comedy.
Youth and age, past and future: Verity Healey reviews Vinay Patel’s new play about an Indian couple and their route to London via Kenya.
Penetrate the earth in the wrong way it will react. Penetrate the human body with enough daily violence and what…? Maddy Costa reviews Jo Bannon’s new work as part of Unlimited Festival.
Middle class problems: Francesca Peschier writes on Alexis Zegerman’s exploration of rules, religion, and cultural legacy.
Frey Kwa Hawking reviews a play that ‘doesn’t make conventional sense, but a kind of sense you feel intuitively.’
A dress rehearsal for an ideal world: Nabilah Said reviews a musical about three generations of the same family.
The awkwardness of family dinners: Ava Davies reviews Stephen Karam’s Thanksgiving play.
Blood, sweat and more blood: Rosemary Waugh reviews the UK premiere of Clare Barron’s play about 13-year-old competitive dancers.
You have nothing to fear: Rosemary Waugh reviews Scottish Dance Theatre with a work inspired by Robert Mapplethorpe.
Makes a seemingly little play vast: Frey Kwa Hawking reviews the Public Acts production of Shakespeare’s Pericles.
Dealer’s choice: Brendan Macdonald on Ontroerend Goed’s interactive game about the world of banking.
Gravity and Other Myths’ new physical theatre piece Backbone showcases the beauty of working together.
Reclaiming a poet: Rosemary Waugh reviews Morgan Lloyd Malcolm’s new play about Emilia Bassano.
Nabilah Said reviews Homos, Or Everyone in America, which is as inspiring and exhausting as watching lovers fight.
‘The bleak loneliness faced by the outcasts of society’: Nabilah Said reviews this one-man show about an illegal digital market place.