“Bloodless, utopian activism clashes with brutal, revolutionary violence”: Lee Anderson on Chilean writer Guillermo Calderón’s new play about conflicting radical ideologies.
A stunning, heartrending performance by Erin Doherty: Corrie Tan reviews a revival of Alan Rickman and Katharine Viner’s play.
Accessible but not patronising: Francesca Peschier reviews Chino Odimba’s adaptation of Oliver Twist for teenagers.
“A unique piece of theatre”: B. L. Sherrington warms to Les Enfants Terribles’ grisly, quirky award-winning show about unruly children, a decade after its premiere.
“A piece of eloquent controversy”: Daniel Perks analyses the London transfer of What Shadows, Chris Hannan’s kaleidoscopic interrogation of Enoch Powell.
An ambitious reimagining: Chris McCormack reviews a new play inspired by Ibsen’s A Doll’s House.
“Does the work think we care? Does it care if we care?”: choreographer Joe Moran’s evening of minimalist dance performances and installations.
A meditation on loss: Chris McCormack reviews Dead Centre’s new production about Shakespeare’s son.
“More than mere monster”: Tracey Sinclair reviews Neil Bartlett’s “fresh and relevant” staging of Jean René Lemoine’s radical, one-man reworking of the Medea myth.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
“The strength of this programme lies in the works that present something fresh and exciting”: Rachel Elderkin reviews Carlos Acosta’s new dance company.
The start of a conversation? Andrew Edwards reviews Wonder Fools’ show about watching porn.
“A spectator, no less than a society, is complicit”: Chris McCormack reviews a site-specific production about the history of the Irish family.
Women turned into monsters: Ka Bradley reviews 27 degrees’ exploration of the Medusa myth.
Both hypervisible but invisible: Hannah Greenstreet reviews a set of nine monologues by Muslim women from across the world.