The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
A living, breathing, contradictory thing: Brendan Macdonald reviews Ponyboy Curtis’ new work at The Yard.
This bird is stuck in its nest: Ross Gaynor’s eclectic new one-man drama at Dublin’s Theatre Upstairs doesn’t quite deliver, says Chris McCormack.
An exuberant, unflagging evening of entertainment: Arjun Sajip reviews Sleeping Trees’ double bill at Incoming festival.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
A well-rounded, uplifting story: Holly O’Mahony warms to Scratchwork Theatre’s Nel at the New Diorama’s Incoming Festival.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.
Our lady in York (Louise Jones) reviews Our Man in Havana – in text messages.
A vivid and colourful soundscape: Brendan Macdonald reviews the latest production from Silent Opera.
A warning against consumerism: Naia Headland-Vanni reviews 1927’s Golem, on tour in Bristol.