It’s like eyeliner, only cooler: Rosemary Waugh reviews Tristan Bernays’ new play about the woad-wearing warrior queen.
What does it take to become invisible? B. L. Sherrington reviews a stage adaptation of Ralph Ellison’s novel as part of Certain Blacks Harlem Festival.
Shadowy and taut: Alice Saville reviews Dominic Cooke’s magical revival of Sondheim’s classic musical.
Drama that fills out history: Naomi Obeng reviews Tanika Gupta’s new play about the fight for Indian Independence.
Words and non-words: Rosemary Waugh reviews Yaël Farber’s production of David Harrower’s Knives in Hens.
Trying to be big and brilliant: Miriam Gillinson reviews Christopher Shinn’s new play about a tech billionaire on a mission.
The witch’s rumspringa: Brendan Macdonald reviews the return of Kiki’s Delivery Service to the Southwark Playhouse.
Agree or disagree? William Drew reviews Rob Drummond’s new play that gives the audience the chance to vote.
The pains of growing old: Amy Borsuk reviews Nancy Meckler’s production of King Lear.
Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.
Simon Gwynn reviews Abigail Hood’s new play about childhood abuse and running away from home.
Lost amongst the swarm: Ka Bradley reviews an ‘enigmatic and complex’ new work by Wayne McGregor.
Mind the fake blood and bring cash for the bar: Ka Bradley reviews the latest show from Secret Studio Lab based on [redacted].
A defence, not an apology: Neil Dowden reviews Stockard Channing in Alexi Kaye Campbell’s dinner party drama.
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.