A musical for ballet fans: Rosemary Waugh reviews the London premiere of An American In Paris.
Honest and brave: Rachel Elderkin reviews Company Chameleon’s new double bill exploring metal health and bipolar disorder.
The juvenile nature of war: Corrie Tan reviews Yellow Earth Theatre’s production of Tamburlaine.
Deliberately timeless: Francesca Street reviews Matthew Whittet’s “hopeful, nostalgic love letter to adolescence”.
Southern Spain is miraculously delivered to south London: Anna Winter reviews Flamenco Express in Peckham.
“Here is a space, a space to make.” Ka Bradley reviews James Cousins’ take on As You Like It.
The use of the word ‘immersive’ is not only justified but used for more than marketing purposes: Ka Bradley has dinner in the world of Eugène Ionesco.
Beige bodystockings and Super Ted: Anna Winter reviews a new triple bill of works danced by Sergei Polunin at Sadler’s Wells.
A beautiful, addictive world: Rebecca Latham reviews April de Angelis’s adaptation of Elena Ferrante’s Neapolitan novels.
An evocative minefield of violence, sexuality and loneliness: Brendan Macdonald reviews Scottee’s new show about working class masculinity.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
When Harry met Daniel met Tom: Rosemary Waugh reviews the 50th anniversary production of Tom Stoppard’s riff on Hamlet.
“Once upon a time…” Arjun Sajip reviews Lilac Yosiphon’s play about long-distance relationships during wartime.
Hits the contemporary spot: Amelia Forsbrook reviews Sean Foley and Phil Porter’s adaptation of Molière.
A sense of teenage spirit: Rebecca Latham reviews a revival of Jack Thorne’s Bunny.