First farce, then tragedy: Tim Bano on Richard Bean’s knockabout capitalism comedy.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
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.