A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
I mean, at least you’d have a woman’s voice… Adelaide Waldrop and Brendan Macdonald record their post-show discussion about David Ives’ play.
“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.
A very lovely play in lots of very lovely ways: Miriam Gillinson reviews David Eldridge’s new play about the start of a relationship.
A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
‘Oh, Jeremy Corbyn!’ Alice Saville reviews James Graham’s play about the Labour party.
“An intriguing, cerebral and destabilizing piece of theatre”: Brendan Macdonald on Vicky Featherstone’s production of Chris Thorpe’s bold new two-hander.
“So this is what happens when the manic pixie dream girl grows up”: Holly Williams on the cliché-ridden romance of Simon Stephens’ new play.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.
“Bloodless, utopian activism clashes with brutal, revolutionary violence”: Lee Anderson on Chilean writer Guillermo Calderón’s new play about conflicting radical ideologies.
A stunning, heartrending performance by Erin Doherty: Corrie Tan reviews a revival of Alan Rickman and Katharine Viner’s play.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.
“Le Grand Mort feels like the most petite of gestures”: Brendan Macdonald on a disappointing dinner party-based vehicle for Julian Clary.
A loving portrait of an unlovable industry: James Graham’s play about The Sun’s founding days transfers to the West End.