Familiar territory revisited with humour and pathos: Laura Gilbert reviews Ian Hislop and Nick Newman’s play about a satirical newspaper in WWI.
An absolute bastard, but a charming one: Eleanor Turney reviews David Tennant in Patrick Marber’s update of Molière.
Raw and new and believable: Rafaella Marcus and David Ralf team up to produce a long-form review of Ivo van Hove’s six-hour Roman Tragedies.
Caught between a weighty Rattigan drama and a fizzy feel-good farce: Brendan Macdonald reviews Trevor Nunn’s combining of Less than Kind and Love in Idleness.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
A musical for ballet fans: Rosemary Waugh reviews the London premiere of An American In Paris.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
When Harry met Daniel met Tom: Rosemary Waugh reviews the 50th anniversary production of Tom Stoppard’s riff on Hamlet.
Hits the contemporary spot: Amelia Forsbrook reviews Sean Foley and Phil Porter’s adaptation of Molière.
An amuse bouche of a political documentary: Corrie Tan reviews the National Theatre’s response to Brexit.
The excuse is the faintness of memory: Tim Bano reviews Travesties (with diagrams, footnotes and poetry).
Strips the drama down to its essence: Fergus Morgan reviews Imelda Staunton and Conleth Hill in Edward Albee’s portrait of marital dysfunctionality.
The unsettling feeling of studying the alchemy of love: Gillian Greer reviews debbie tucker green’s new play at the Royal Court.
A compelling political debate about the heart and soul of the British left: Fergus Morgan reviews the world premiere of Steve Waters’ new play about the Limehouse declaration.
A Third Way for Shakespeare: Sally Hales reviews Ellen McDougall’s vision of Othello.