Losing faith: Amy Borsuk reviews a production of Othello with religion as its core.
And we all get badges! Gillian Greer reviews Idiot Child’s lecture/workshop/boot camp designed to relieve us of our innermost fears.
A vortex of visibility and vulnerability: Anna Winter reviews Project O at Sadler’s Wells.
Bringing ‘fun’ back to theatre: Bridget Minamore reviews Joe Wright’s extravagant and entertaining Life of Galileo.
Where we go when we fall and can’t get back up again: Gillian Greer reviews Inspector Sands’ show about the ageing process.
As breakneck as the best night out, as wild as you wish you’d been, as tender as a bruise: Lauren Mooney reviews a musical about teenage rebellion.
The baby and the bath water and the whole, cast-iron bath: Fergus Morgan reviews a slightly overwrought production of Mark Weinman’s debut play.
A revolving door of middle-aged white men: Sally Hales reviews Mehmet Ergen’s “strangely incoherent” production.
Cosy and humble: Amy Borsuk whets her appetite with Glyn Maxwell’s stage adaptation of Karen Blixen’s 1958 short story, but leaves wanting more.
Bored by Hiddlesbum? Sally Hales does some manwatching at the Royal Court.
Drinking alone with Google Translate: Rosemary Waugh reviews part of the Sovremennik Theatre’s short season in London.
Survival mode: B. L. Sherrington reviews the stage adaptation of Emma Donoghue’s novel.
Performances by Adjoa Andoh and Kenneth Omole “are easily the highlight” of Assata Taught Me. Review by Bridget Minamore.
“The first pretend Tory I’ve ever almost-liked.” Gillian Greer reviews Stephen Brown’s new play about MP Rory Stewart.
Surprisingly stagnant: Brendan Macdonald reviews the UK premiere of Alexandra Badea’s award-winning play about the effects of globalisation.