Your name is Ruby… William Drew goes on a binaural dinner date.
“As this is a piece of immersive theatre, it doesn’t work unless you follow the rules”: Amelia Forsbrook reviews Les Enfants Terrible’s staging of the story of Pussy Riot.
‘Is this a safe space? Asking for a friend,’ Chris McCormack reviews TheatreofplucK’s performance as part of Outburst Queer Arts Festival 2017.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Wildean wantonness: Christopher Luscombe’s resplendent revival is luscious but loud.
Put down your iPhones: Rosemary Waugh on Ivo van Hove’s multi-channel story of a news anchorman driven to breaking point.
Resolution isn’t that simple: Chris McCormack reviews Owen McCafferty’s new play at the Abbey Theatre.
Hannah Greenstreet on the “unforced relevance” of an immersive reimagining of Elizabeth Inchbald’s 1792 play.
Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.
Delights at the same time as it challenges: Lilith Wozniak reviews Myrtle Theatre’s follow-up to Up Down Boy.
Banging away: Kneehigh’s latest adaptation is energetic but aimless.
Gallows humour: Lee Anderson reviews Chris Thorpe & Jon Spooner’s show about shuffling off the mortal coil.
Dripping with blood and sweat: Neil Dowden reviews the opening production of the RSC’s Rome Season at the Barbican.
Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.