Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.
Gallows humour: Lee Anderson reviews Chris Thorpe & Jon Spooner’s show about shuffling off the mortal coil.
Dripping with blood and sweat: Neil Dowden reviews the opening production of the RSC’s Rome Season at the Barbican.
Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.
Images of trauma: Corrie Tan on a didactic revival of Brecht’s classic, starring comedian Josie Lawrence.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.
“Smart, sharp and exhilarating”: Brendan Macdonald reviews Thomas Eccleshare’s thrillingly tricksy two-hander about the stories behind the stories.
A tender chemistry: Corrie Tan reviews the premiere of Stewart Pringle’s Papatango Prize-winning play.
Wartime ennui: Brendan Macdonald reviews a stage adaptation of Patrick Hamilton’s novel.
I want to tell her the baby does stop crying, eventually: Maddy Costa reviews the UK premiere of Magali Mougel’s play about motherhood.
Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.
Fine-tuned absurdity: Simon Gwynn reviews the return of David Grieg’s stage adaptation of Dr Seuss to the Old Vic.
People watching: Rosemary Waugh reviews the UK tour of Clod Ensemble’s work placing humans behind glass.
A flirtatious, provoking piece: Ka Bradley reviews Eun-Me Ahn’s work exploring identity and androgyny at Dance Umbrella 2017.