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.
Returning home: Rebecca Latham reviews the European debut of Lindsey Ferrentino’s play about an ex-soldier and PTSD.
The thrill of the possible: Ka Bradley reviews Cul de Sac, Lumo Company and Feet Off the Ground Dance on the final night of Resolution 2017.
A sophisticated piece that’s ultimately about belonging: Brendan Macdonald reviews Stephen Karam’s play about three teenage misfits.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
All about Richard: Brendan Macdonald reviews Thomas Ostermeier’s “confrontational, direct, and raw” version of Richard III
Viewed through glass: Brendan McDonald reviews Complicite and Schaubühne Berlin’s staging of Stefan Zweig’s novel.