“Bloodless, utopian activism clashes with brutal, revolutionary violence”: Lee Anderson on Chilean writer Guillermo Calderón’s new play about conflicting radical ideologies.
A stunning, heartrending performance by Erin Doherty: Corrie Tan reviews a revival of Alan Rickman and Katharine Viner’s play.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.
“Le Grand Mort feels like the most petite of gestures”: Brendan Macdonald on a disappointing dinner party-based vehicle for Julian Clary.
A loving portrait of an unlovable industry: James Graham’s play about The Sun’s founding days transfers to the West End.
This is how we do business: Rosemary Waugh reviews the London premiere of J. T. Rogers’ play about the Oslo Accords.
It’s like eyeliner, only cooler: Rosemary Waugh reviews Tristan Bernays’ new play about the woad-wearing warrior queen.
Shadowy and taut: Alice Saville reviews Dominic Cooke’s magical revival of Sondheim’s classic musical.
Drama that fills out history: Naomi Obeng reviews Tanika Gupta’s new play about the fight for Indian Independence.
Words and non-words: Rosemary Waugh reviews Yaël Farber’s production of David Harrower’s Knives in Hens.
Agree or disagree? William Drew reviews Rob Drummond’s new play that gives the audience the chance to vote.
The pains of growing old: Amy Borsuk reviews Nancy Meckler’s production of King Lear.
Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.
A defence, not an apology: Neil Dowden reviews Stockard Channing in Alexi Kaye Campbell’s dinner party drama.