NO FUTURE: Brendan Macdonald reviews Chris Goode’s stage version of Derek Jarman’s Jubilee
Come for the fringe theatre, stay for the free lube: Rosemary Waugh reviews Fran Bushe’s show about Female Sexual Dysfunction
A new year’s resolution well kept: Amelia Forsbrook reviews a triple bill of works at The Place’s annual festival of new dance.
An attempt to articulate: Henry Gleaden reviews Rachel Bagshaw and Chris Thorpe’s show about Complex Regional Pain Syndrome.
The profound absurdity of identity: Told By An Idiot’s new show makes Napoleon feel very British.
If in doubt, get naked and jump on the table: Terry Johnson’s tribute to Ken Campbell has lessons for life as well as theatre.
Where the wild things are: Coney’s new show immerses you in the imaginations of children.
The aches and pains of long-term love: Rosemary Waugh reviews Lost Dog’s new show about Shakespeare’s lovers all grown up.
‘This is not the end’: Hannah Greenstreet reviews an attempt at starting a feminist revolution inside a theatre.
The myth of childhood innocence: Brendan Macdonald reviews Monica Dolan’s monologue about a mother giving her child what she thinks she wants.
Remains thoroughly caffeinated: Simon Gwynn reviews Philip Ridley’s new series of six monologues.
Feeling blue: Rosemary Waugh reviews the premiere of Dennis Kelly’s one-woman play.
Francesca Peschier reviews John O’Donovan’s “envy-inducing” debut play, in all its “butterfly brilliance”.
Love and land: Rosemary Waugh reviews Peter Gill’s painfully realistic picture of a relationship
You don’t get it, but you listen: all good artists are dead’s second show is an incomprehensible rave.