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.
A vivid and colourful soundscape: Brendan Macdonald reviews the latest production from Silent Opera.
Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.
A gothic vaudevillian circus: Francesca Peschier reviews Sally Cookson’s version of Fellini’s masterpiece.
So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.
Wall to wall pressure: Rosemary Waugh reviews Jack Thorne’s new version of Woyzeck.