A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.
The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
A living, breathing, contradictory thing: Brendan Macdonald reviews Ponyboy Curtis’ new work at The Yard.
An exuberant, unflagging evening of entertainment: Arjun Sajip reviews Sleeping Trees’ double bill at Incoming festival.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
A well-rounded, uplifting story: Holly O’Mahony warms to Scratchwork Theatre’s Nel at the New Diorama’s Incoming Festival.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.