All about Richard: Brendan Macdonald reviews Thomas Ostermeier’s “confrontational, direct, and raw” version of Richard III
Proof that political satire can still have teeth: Sally Hales reviews the world premiere of Oladipo Agboluaje’s New Nigerians.
Ferociously balletic bulls: Anna Winter reviews the start of Sadler’s Wells’ Flamenco Festival with performances from Israel Galván and Eva Yerbabuena.
A wide-eyed discovery of the world: Corrie Tan reviews Superbolt Theatre’s new play about a group of martians.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.
No-one escapes bringing their baggage to bed with them: Arjun Sajip reviews Max Gill’s adaptation of La Ronde.
The victims and perpetrators of violent crime: B. L. Sherrington reviews Brave Badger’s new verbatim play.
Reads like a revisitation of the Choose Life monologue: Amelia Forsbrook reviews Brad Birch and Kenneth Emson’s “cracking collaborative mastery”.
A spirit and optimism that goes against its drab, desperate, wipe-clean-vinyl-coated setting: Amelia Forsbrook reviews Interval Production’s show about two friends in a women’s hostel.
Beyond words: Rachel Elderkin reviews the ZfinMalta Dance Ensemble’s U.K. debut.
Viewed through glass: Brendan McDonald reviews Complicite and Schaubühne Berlin’s staging of Stefan Zweig’s novel.
We are all aliens: Corrie Tan reviews Tim Foley’s “science fiction on a shoestring” play.
It’s not enjoyable theatre… but it is important theatre: Fergus Morgan reviews Crew For Calais’ double-bill at Vault festival.
A story of hope and humour: B. L. Sherrington reviews the UK premiere of Kirsten Childs’ musical.
That guy on the tube playing music from his phone… Bojana Jankovic reviews the UK premiere of Matei Visniec’s surreal comedy.