Raising the roof: John Murphy reviews Sheffield Crucible’s slick and spectacular production of the Cole Porter classic.
Hanging up his wig: Louise Jones writes on the 40th and final panto helmed by legendary York dame Berwick Kaler.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
“I hope it’s stupid”: James Varney on the skill of being an idiot in a Dutch company’s tribute to the great entertainers.
‘The most millennial millennial’: Emily Davis writes on Bebe Sanders’ one woman show about an intergenerational friendship
Someone else’s shoes: Lilith Wozniak writes on the mechanics of empathy in an immersive audio experience in Bristol shopping quarter.
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding’s ‘gentle and very different Christmas show’
The little things: Lilith Wozniak writes on the detail and scale of The Borrowers.
‘Shimmer and sparkle’: Catherine Love reviews an unlikely Christmas show which delights as much as it unsettles.
Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.
Hailey Bachrach writes on the Menier’s wintry new staging of a musical that’s “by and for the kinds of Jews who want something to celebrate at Christmastime”.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.
Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.