Things untangle, things change: Andrew Edwards is mesmerised by Saffy Setohy’s “hugely generous” new performance installation at Dance International Glasgow.
A characteristically touching return: Christine Irvine warms to Ramesh Meyyappan’s new solo show exploring mental health through physicality and magic.
Bored by Hiddlesbum? Sally Hales does some manwatching at the Royal Court.
Drinking alone with Google Translate: Rosemary Waugh reviews part of the Sovremennik Theatre’s short season in London.
“A superbly executed concept by a blisteringly talented group”: Lucian Waugh reviews a modern update of Medea that shares much in common with opera.
Christine Irvine discovers Douglas Maxwell’s new work combines “the magic of a Grimm Brothers fairy-tale, with the magic of being fourteen and off your head on peach schnapps.”
Survival mode: B. L. Sherrington reviews the stage adaptation of Emma Donoghue’s novel.
Colour-telly ambience: Christine Irvine reviews the world premiere of Blood of the Young’s play about a pioneer of electronic music.
Performances by Adjoa Andoh and Kenneth Omole “are easily the highlight” of Assata Taught Me. Review by Bridget Minamore.
Reasons to be cheerful: Chris McCormack finds Northern Ireland Opera’s production of Radamisto too optimistic in outlook.
A highly original, thoroughly rollicking ninety minutes: Lorna Irvine enjoys Jasmin Vardimon’s multi-faceted dance adaptation of this classic children’s story.
Rinse, repeat, ad infinitum: Lee Anderson review Forced Entertainment’s performance at Theatertreffen 2017.
“The first pretend Tory I’ve ever almost-liked.” Gillian Greer reviews Stephen Brown’s new play about MP Rory Stewart.
A superbly danced and successful piece of storytelling: Anna Winter examines Northern Ballet’s new show about the 18th-century Italian philanderer and his remarkable, reprehensible life.
Surprisingly stagnant: Brendan Macdonald reviews the UK premiere of Alexandra Badea’s award-winning play about the effects of globalisation.