Jealousy, longing, loneliness and insecurity: Chris McCormack reviews a revival of Eugene McCabe’s rarely-performed play set in rural Ireland.
A very lovely play in lots of very lovely ways: Miriam Gillinson reviews David Eldridge’s new play about the start of a relationship.
“Like stumbling, joyously stoned, through Camden Market”: Francesca Peschier takes a trip into The Vaults to review Johnathan O’Boyle’s fully immersive revival of Hair.
Sex in a mouse onesie: Francesca Peschier reviews a new comedy by David Ireland.
A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
‘Oh, Jeremy Corbyn!’ Alice Saville reviews James Graham’s play about the Labour party.
“An intriguing, cerebral and destabilizing piece of theatre”: Brendan Macdonald on Vicky Featherstone’s production of Chris Thorpe’s bold new two-hander.
“So this is what happens when the manic pixie dream girl grows up”: Holly Williams on the cliché-ridden romance of Simon Stephens’ new play.
Devastating and dignified: Peter Kirwan reviews Fiona Buffini’s timely revival of Arthur Miller’s classic American drama.
“Nailed it”: Hayley Bachrach overcomes her fear of the form at Pop-Up Opera’s accessible production of Englebert Humperdinck’s Hansel and Gretel.
“It seems misguided to smooth over the edges in a novel like Ulysses”: Chris McCormack is disappointed by Graham McLaren’s Abbey Theatre staging of James Joyce’s modernist masterpiece.
Work that wants to change people: Maddy Costa reviews Slung Low’s Flood Parts 1 – 4.
If you just really, really want to run around pretending you’re a vampire, this is for you: Ka Bradley reviews immersive theatre by Hammer House of Horror.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.
You can feel the bombs rumbling through your shoes: Lilith Wozniak reviews a site-specific immersive show about the siege of Leningrad.