Tracey Sinclair reviews Tamara Saulwick’s meditation on modern death as part of the Brighton Festival.
Magical-realism by way of light yet damning political critique: Catherine Love reviews Alan Harris’ “strange, delicate” 2015 Bruntwood Prize-winner.
Disrobing the myth: Rosemary Waugh reviews Yaël Farber’s retelling of the story of Salomé.
Sound issues aside, Eleanor Turney still has a “highly entertaining” evening with the Park Theatre’s staging of Jonathan Larson’s early musical.
The gentle tracing of our pens on paper: Kate Wyver draws Hannah Sullivan in her “infinitely delicate” one-on-one participatory show in Bristol.
Beautiful images of growth, change and rebirth: Andrew Edwards is mesmerised but left cold by Fleur Darkin’s eclectic Scottish Dance Theatre show at Tramway.
Corrie Tan finds that “Shepard’s 1985 text still glitters with despair and devastation.”
Emily Holyoake admits to not quite having the stomach for Chris Harrisson’s visceral storytelling.
Serious issues, plenty of humour: B. L. Sherrington is all made up by John Misto’s new three-handed comedy about two pioneers of the cosmetics industry.
My first theatre trip: Miriam Gillinson takes her two-year-old nephew to see Little Angel’s adaptation of Anna Kemp’s children’s book, and goes just a little bit bonkers.
Lee Anderson finds that Simon Stone’s new version of Three Sisters reduces the women of Chekhov’s original to “bit players in their own drama”.
A tenacious celebration of life: Brendan Macdonald watches all eight hours of Marianne Elliott’s much-hyped revival of Tony Kushner’s two-part gay fantasia on national themes.
And we wait: Andrew Edwards is both excruciatingly bored and enormously impressed by Margrét Sara Guðjónsdóttir’s inertia-ridden show.
So much room to breathe: Andrew Edwards spends hours at Siobhan Davies Dance’s multi-faceted installation at Tramway.
Here’s to you, Mrs Robinson: Adam Bruce is seduced Lucy Bailey’s revival of Terry Johnson’s stage adaptation of Charles Webb’s seminal novel.