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.
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.