“Smart, sharp and exhilarating”: Brendan Macdonald reviews Thomas Eccleshare’s thrillingly tricksy two-hander about the stories behind the stories.
A tender chemistry: Corrie Tan reviews the premiere of Stewart Pringle’s Papatango Prize-winning play.
Wartime ennui: Brendan Macdonald reviews a stage adaptation of Patrick Hamilton’s novel.
I want to tell her the baby does stop crying, eventually: Maddy Costa reviews the UK premiere of Magali Mougel’s play about motherhood.
Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.
Fine-tuned absurdity: Simon Gwynn reviews the return of David Grieg’s stage adaptation of Dr Seuss to the Old Vic.
People watching: Rosemary Waugh reviews the UK tour of Clod Ensemble’s work placing humans behind glass.
A flirtatious, provoking piece: Ka Bradley reviews Eun-Me Ahn’s work exploring identity and androgyny at Dance Umbrella 2017.
Me, Also Me, Placatory Me, Non-Judgemental Me and Impatient Me: Maddy Costa on Chris Thompson’s new play about surrogacy.
First farce, then tragedy: Tim Bano on Richard Bean’s knockabout capitalism comedy.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
Who said what? Francesca Peschier reviews Terry Johnson’s play featuring Albert Einstein and Marilyn Monroe.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
“Kept separate by the chasm of the centuries”: Daniel Perks reviews Elizabeth Kuti’s trio of detached monologues set on the Suffolk Coast at Finsbury Park’s Park Theatre.
Simeon loves Marcia loves Konstantin loves Nina loves Boris loves Irina loves herself: Annegret Marten reviews Simon Stephens’ new version of Chekhov.