‘Teetering on the edge’: Maria Iu reviews the Julie Cunningham Company’s version of Sarah Kane’s Crave
Storybook kings and queens: Rosemary Waugh reviews George Benjamin and Martin Crimp’s new opera, directed by Katie Mitchell
A murky moral world: Kali Theatre’s new writing festival boasts a well-researched work-in-progress from Rukhsana Ahmad.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
War and peace: Rosemary Waugh reviews the Maly Theatre of St Petersburg performing Vasily Grossman’s epic work
Creative control: Joe Penhall’s new play is a look at the hard, cynical, sexist world of the music industry.
Bridget Minamore writes on Natasha Gordon’s debut play, an emotive, truthful exploration of black grief.
Checkmate: Benny and Bjorn’s classic eighties musical is completely ridiculous
The inadequacy of language: Alice Saville on Rodney Ackland’s sprawling epic of post-war London nightlife.
“Thank you for loving me.” Maddy Costa reviews Anthony Neilson’s new play, which follows a couple’s foundering sex life.
As enjoyable as a light breeze in mid- July: Josephine Balfour-Oatts reviews David Hare’s play about the founding of Glyndebourne
A Will Young concert with a bit of story: the musical adaptation of Baz Luhrmann’s 1992 doesn’t sparkle as bright as its sequins.
I’ve seen it five times… Ava Davies reviews the return of Simon McBurney’s The Encounter to the Barbican
A poem about a poet: Luke Wright’s second verse play dives into the political turmoil of Thatcher’s Britain.
He had it coming: Alice Saville’s review of the sexy, slick courtroom story takes the form of a trial transcript.