In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
All about Richard: Brendan Macdonald reviews Thomas Ostermeier’s “confrontational, direct, and raw” version of Richard III
Viewed through glass: Brendan McDonald reviews Complicite and Schaubühne Berlin’s staging of Stefan Zweig’s novel.
A cruise ship captained by Robin Thicke (with Piers Morgan as cabin boy): Anna Winter reviews German Cornejo’s Tango Fire.
Set by set, scene by scene, love by love: Ka Bradley reviews Charleroi Danses’s “transporting and joyously original work.”
A human being of diabolical character or qualities: Rebecca Latham reviews Annie Ryan’s new production of The White Devil.
An experience filtered through memories: Alice Saville reviews the transfer of John Tiffany’s The Glass Menagerie to the West End.
Locates the absurd within a terrible bleakness: Lee Anderson reviews the return of Caryl Churchill’s Escaped Alone to the Royal Court.
One performer, one light, no narrative, no text, no set: Amelia Forsbrook sees if Thomas Monckton passes his own test.
Emotional amnesia: Miriam Gillinson reviews the transfer of the children’s show about the Beslan siege to the National Theatre.
If melancholy could be visualised… Rebecca Latham reviews Sacekripa’s performance as part of the London International Mime Festival 2017.
An elegant riot against control: Amelia Forsbrook reviews Boy Blue Entertainment at the Barbican.
Relationships and identities formed by relativity or intimacy: Ka Bradley reviews a mixed bill of performances as part of Resolution 2017.
“The world’s Tamsins have no use for theatregoers’ tears.” Sally Hales reviews Katherine Soper’s Bruntwood Prize-winning play at the Royal Court.
Behind the scenes: Rosemary Waugh reviews Familie Flöz at the Peacock Theatre as part of the London International Mime Festival.