“A unique piece of theatre”: B. L. Sherrington warms to Les Enfants Terribles’ grisly, quirky award-winning show about unruly children, a decade after its premiere.
“A piece of eloquent controversy”: Daniel Perks analyses the London transfer of What Shadows, Chris Hannan’s kaleidoscopic interrogation of Enoch Powell.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
Women turned into monsters: Ka Bradley reviews 27 degrees’ exploration of the Medusa myth.
Both hypervisible but invisible: Hannah Greenstreet reviews a set of nine monologues by Muslim women from across the world.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.
“Le Grand Mort feels like the most petite of gestures”: Brendan Macdonald on a disappointing dinner party-based vehicle for Julian Clary.
Requardt and Rosenberg’s Deadclub “clashes a children’s party with the ticking timebomb of our own inevitable demise”.
“Too long forgotten”: Amy Borsuk reviews the London transfer of Alice Childress’s play.
From self-aware 90s moshing to hastily resolved first sex: Sally Hales reviews a coming-of-age story set in the Scottish Highlands.
A loving portrait of an unlovable industry: James Graham’s play about The Sun’s founding days transfers to the West End.
“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
This is how we do business: Rosemary Waugh reviews the London premiere of J. T. Rogers’ play about the Oslo Accords.
Beyond bullshit stereotypes: Hannah Greenstreet on Milk Presents’ gender fluid reimagining of the Minotaur myth.
Pop the kettle on: Brendan Macdonald reviews Alice Hamilton’s revival of David Storey’s family drama.