Chilling isolation in an untameable wilderness: Christine Irvine reviews Blue Raincoat’s retelling of Ernest Shackleton’s doomed expedition.
The millennial sense of entitlement: Brendan Macdonald reviews Poor Michelle as part of Incoming Festival 2017.
Francesca Peschier reviews Manfred Karge’s play about “a mass let’s-pretend expedition”.
Searching in the dark: Chris McCormack reviews an autobiographical play about a bid to discover the author’s birth parents.
A powerful, highly fitting homage to real stories: Adam Bruce reviews Zodwa Nyoni’s punchy, poetic paean to Leeds life.
Serie A in the senate house: Rosemary Waugh reviews a production of Julius Caesar featuring final year students from the Bristol Old Vic Theatre School.
A stand-up tragedy act: Brendan Macdonald reviews Pub Corner Poets at Incoming Festival 2017.
Gruff grunts, brash insults and fisticuffs: Brendan Macdonald reviews Theatre N16’s production of John Patrick Shanley’s play.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
Of pebbles which the waves draw back: Rosemary Waugh reviews Nic McQuillan’s new one-man show about love and loss.
Lacks real poignancy: The flaws in this little-performed Tennessee Williams are exposed in Jonathan Kent’s laboured production, says Neil Dowden.
A wealth of variety and charm: Louise Jones review On the Wire’s From Shore to Shore.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.