An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Shakespeare’s stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.
‘It’s the kind of weird theatre show that I want to bring all of my non-theatre friends to see’: Lilith Wozniak reviews Richard Allen’s show as part of Mayfest 2018.
‘Bed-ridden with everything except a husband’: Amelia Forsbrook reviews the ROH’s ballet about the last Tudor on the throne.
‘The air of stifling, claustrophobic routine’: David Pollock reviews Martin McCormick’s absurdist play
Rosemary Waugh reviews the British Paraorchestra’s new work inspired by the theoretical physicist Richard Feynman, as part of Bristol’s Mayfest
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.
A celebration of the power of music to hold and communicate human history: Maddy Costa reviews a cabaret of songs banned by the Nazis.
A man’s world: Phil Ormrod’s four-handed drama explores father-son relationships and male violence.
Theatre as controlled demolition: Christopher Rüping’s dissection of Brecht is thrilling, smart and savage.
Maddy Costa writes on getting exercised about theatre criticism and ideas of treating the audience as consumer, spun through a review of Choral Cuisine at Bristol’s Mayfest.
Louise Jones submits her examination paper for Jonathan Lewis’ play. (And promises she didn’t cheat.)
‘Push and pull and stumble; pain and discomfort’: Lilith Wozniak reviews a show by Osaka-based collective Contact Gonzo at Bristol’s Mayfest.
Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show