Set by set, scene by scene, love by love: Ka Bradley reviews Charleroi Danses’s “transporting and joyously original work.”
A human being of diabolical character or qualities: Rebecca Latham reviews Annie Ryan’s new production of The White Devil.
An experience filtered through memories: Alice Saville reviews the transfer of John Tiffany’s The Glass Menagerie to the West End.
Locates the absurd within a terrible bleakness: Lee Anderson reviews the return of Caryl Churchill’s Escaped Alone to the Royal Court.
One performer, one light, no narrative, no text, no set: Amelia Forsbrook sees if Thomas Monckton passes his own test.
Emotional amnesia: Miriam Gillinson reviews the transfer of the children’s show about the Beslan siege to the National Theatre.
If melancholy could be visualised… Rebecca Latham reviews Sacekripa’s performance as part of the London International Mime Festival 2017.
An elegant riot against control: Amelia Forsbrook reviews Boy Blue Entertainment at the Barbican.
Relationships and identities formed by relativity or intimacy: Ka Bradley reviews a mixed bill of performances as part of Resolution 2017.
“The world’s Tamsins have no use for theatregoers’ tears.” Sally Hales reviews Katherine Soper’s Bruntwood Prize-winning play at the Royal Court.
Behind the scenes: Rosemary Waugh reviews Familie Flöz at the Peacock Theatre as part of the London International Mime Festival.
“It may just be coincidence…” Amelia Forsbrook reviews Matthew Sprangler’s adaptation of Khaled Hosseini’s best-selling novel.
“Intelligent, but coolly so.” Sophie Baggott reviews the UK premiere of Tom Jacobson’s play about the entrapment of gay men by the LA police.
The National Gallery, and other ways to kill time before going to the theatre: Rosemary Waugh reviews Mary Skeaping’s Giselle.
“Amongst the trauma and suffering lurks an awful lot of humour.” Fergus Morgan reviews the transfer of Stuart Slade’s play about terrorism to the Trafalgar Studios.