Privileged, bored and probably lazy: Sally Hales reviews the UK premiere of Amy Herzog’s relationship psychodrama.
It’s mad. It’s ambitious. It’s silly and frightening and really annoying: Miriam Gillinson reviews the National Theatre’s stage version of Pinocchio.
Bizarre, challenging and strangely compelling: Sally Hales reviews the Royal Court’s alternative take on Christmas theatre.
Disarmingly virtuosic: Seiriol Davies’ Edinburgh musical sensation transfers to London.
“Like those Christmas selections that come in an actual tin with some of the biscuits so posh they warrant their own silver foil.”
Bigger isn’t always better: Francesca Peschier is underwhelmed by the humbug prince.
Just kidding: Liwaa Yazji’s exploration of the Syrian Civil War is compelling, confusing and, well, full of goats.
It takes a village to raise a child… Alice Saville reviews the West End transfer of Tom MacRae and Dan Gillespie Sells’ new musical.
Evolving or revolving: Maddy Costa reviews Rachel Mars and nat tarrab’s new roller derby inspired work.
You’re being watched: Rosemary Waugh reviews Anders Lustgarten’s new play about Elizabethan intrigue.
Identity crisis: Amelia Forsbrook reviews Nico Muhly’s ‘non-committal’ opera.
The female currency of war: Natal’ya Vorozhbit’s harrowing new play explores conflict in Ukraine
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.