Going round the houses: Rosemary Waugh reviews Helen Edmundson’s play about the British monarch.
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.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.
It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.
“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.
Heartache: Rafaella Marcus reviews Kneehigh Theatre at the Globe.
The here and now: William Drew reviews the transfer of Robert Icke’s Hamlet to the Harold Pinter Theatre.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.
The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.