The parallels with the contemporary world are frighteningly obvious in the Donmar’s production of Bertolt Brecht’s political satire.
Spectacular skill with nipple tassles: Sally Hales reviews Fancy Chance’s eclectic solo show in the heart of Soho.
BANG! and Whaam! Rosemary Waugh reviews the opening production in the Globe’s Summer of Love.
What I’m suppose to think vs What I actually think: Fergus Morgan reviews the world premiere of Ivo van Hove’s Obsession.
It’s just one interpretation: Holly Williams on Imogen Knight’s “sensuously rich” production of Simon Stephens’ new play.
Cognitive dissonance: Emma Smith reviews Katie Bonna’s one-woman show about lying.
Ka Bradley reviews the Hong Kong Dance Company’s underwhelming staging of an ancient folktale.
Eleanor Turney gets into the spirit of things with a shit-faced review of Shit-faced Shakespeare.
“Once you are real, you can never be ugly except to those who don’t understand.” B. L. Sherrington reviews the Unicorn Theatre’s staging of The Velveteen Rabbit.
A much more exciting party: Holly O’Mahony swims in the undercurrents of Bill Rosenfield’s transferred two-hander.
David Hare might hate it, but he’d be wrong: Sally Hales exalts in Declan Donnellan’s directorial vision for this problematic play.
Sunny side up: Holly O’Mahony contemplates 42nd Street’s escapism amid 2017’s political turbulence.
A divine and dirty awakening: Brendan Macdonald reviews the gospel according to Lucy McCormick
The yes-no of it: Corrie Tan reviews Nina Raine’s “exquisitely devastating” new play.
Fergus Morgan attends Paul Mason’s attempt to explain the state of the world in 2011-2017, but leaves with as many questions as answers.