‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
Defiance is at the heart of its genius: J.N. Benjamin reviews the National Theatre transfer of Branden Jacobs-Jenkins’s play.
‘We’re all Beverlys here’: Ka Bradley reviews Rhiannon Faith’s dance-based work about domestic abuse.
Hope, comedy, violence and suffering: Rotimi Babatunde’s stage adaptation of Lola Shoneyin’s novel is a sweet show that leaves a sour taste.
Messy, flawed, slippery: Rosemary Waugh on an intriguing revival of Sophie Treadwell’s 1928 play.
‘Like any fairground ride, Phobiarama is not subtle’: Alice Saville rides Dries Verhoeven’s ghost train at LIFT 2018.
“Deeply meaningful theatre”: Paterson Joseph’s one-man play about the first black man to vote in Britain is rich and resonant.
A need for connection: Berri George’s new play centres on two graffiti-obsessed, thrill-seeking teenagers.
Kristina’s play: Rosemary Waugh reviews Polly Stenham’s adaptation of August Strindberg
‘Comforting and clinical textures’: Josephine Balfour-Oatts reviews Anthony Neilson’s production of two plays by Lars Norén.
Residue as runes: Maddy Costa reviews Gob Squad, as part of LIFT 2018.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.
Emotional Labour: Sally Hales reviews Emily Schwend’s play about an overstretched Texan mother.
‘An epic display of female emotion’: Nabilah Said reviews a contemporary opera of Euripides’ tragedy, as part of LIFT 2018.
Bullish, gentle, broken, blazing: Simon Stephens, Karl Hyde and Scott Graham’s interrogation of father-son relationships gets to you eventually.