Love and land: Rosemary Waugh reviews Peter Gill’s painfully realistic picture of a relationship
Reset and start again: Hailey Bachrach reviews the premiere of Stephanie Jacob’s family comedy
Full of teenage melodrama: Ed Nightingale reviews the shortened version of Alan Ayckbourn’s dystopian epic (and it’s still a disappointment).
Closures, consolidation, and restructuring: Dave Fargnoli reviews a re-fashioning of John Dryden’s Aureng-zebe.
Hail Hytner! Nick’s immersive Shakespeare overcomes its own innate lameness triumphantly.
Rosemary Waugh reviews the premiere of Simon Longman’s brutal, bloody and foreboding rural play.
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.