Extraordinary risk, ordinary outcome: William Drew reviews the RSC’s bold collaboration with Imaginarium Studios.
Inspired by Klanghaus’s 800 Breaths, Maddy Costa embarks on a lyrical exploration of music in theatre.
Humans and history books: Rosemary Waugh reviews Taha at the Young Vic as part of the Shubbak Festival.
How did you get your scar? Hannah Greenstreet reviews a new play about Yarlswood Immigration Removal Centre.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.
Existentialism and farts: Duška Radosavljević reviews Made in China’s slime-filled show.
We couldn’t, and yet, we do: Ka Bradley reviews les ballets C de la B performing Alain Platel’s work inspired by Gustav Mahler.
Sharp, zeitgeist-y, and sometimes moving: Gillian Greer reviews the problematic European premiere of Taylor Mac’s New York smash-hit Hir.
It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.
Sputters and spins like a dodgy Sputnik: Anna Winter reviews the new work by Alexander Whitley combining dance with solar physics.
Cave-man fervour: Francesca Peschier reviews a one-man musical about Fathers4Justice.
Lively and refreshing: Rachel Elderkin reviews the New English Ballet Theatre performing The Four Seasons and Other Modern Ballets.
“It’s hack-work, pure and simple”: Stewart Pringle on Julian Fellowes’ insipid musical version of Kenneth Grahame’s classic.
We too are thieves: Brendan Macdonald reviews Audra McDonald as Billie Holiday.
Britain’s best-selling fish-and-chip-wrapper: Fergus Morgan reviews James Graham’s new play about the Sun.