Heart-ache: Miriam Gillinson reviews the West End transfer of Richard Eyre’s production of Eugene O’Neill.
Absurdity in the commonplace: Ka Bradley reviews the Jakop Ahlbom Company, as part of London Mime Festive 2018
This is sounding like a history lesson: Rob Icke’s Almeida production offers contemporary parallels galore.
Art in its purest state: Ka Bradley unpicks the intensely weird power of Peeping Tom’s show.
Roots and routes: Brendan Macdonald reviews Tarell Alvin McCraney’s play about identity, freedom, and brotherhood.
The world unseen: Annie Baker’s play is beyond haunting.
The loveliness, and ultimate uselessness, of wit: Tim Bano reviews Kathy Burke’s take on Oscar Wilde.
A reminder that we’re all just people: Hailey Bachrach reviews the West End transfer of David Eldridge’s will-they-won’t-they drama.
Power play: Amelia Forsbrook reviews Ian Rickson’s production of Pinter.
A talent for unearthing character interiority: Brendan Macdonald reviews Caroline Byrne’s take on Bertram and Helena’s sort-of love story.
Nostalgic cliché: William Drew reviews Petit théâtre de gestes as part of the London International Mime Festival 2018.
A hyperactive primary-coloured tale: Amelia Forsbrook reviews Cirque du Soleil’s new show.
Lots of knots: Rosemary Waugh reviews the arrival of Andrea Dunbar’s play at the Royal Court.
A cult hit: Anoushka Warden’s debut monologue is bold, brash and baggy.
“A Victor Hugo musical? It’ll never work.” Brendan Macdonald reviews the London transfer of The Grinning Man.