Faeries, changelings, merrows and hawthorn trees: Chris McCormack dives into Irish folklore in Big Telly Theatre’s adaptation of Jane Talbot’s story collection.
A state of unbridled fury: Chris McCormack reviews Eva O’Connor’s new play about bitter enemies and unlikely friends.
An experience of great satisfaction: Maddy Costa reviews Thomas Adès opera adaptation of Luis Buñuel’s 1962 surrealist film.
The parallels with the contemporary world are frighteningly obvious in the Donmar’s production of Bertolt Brecht’s political satire.
Lust, morphine and mental instability: Kenneth MacMillan’s infamously dark ballet is back, and so are the plummy Covent Garden crowds.
Demands to be heard: Gillian Greer, sustained only by artisanal fudge, sees nine plays in one day as part of Cardboard Citizens’ incomplete history of housing.
The past is a strange country: Gillian Greer admires the gentle craftsmanship of Barney Norris’ new two-hander, the inaugural production in the Bush’s new studio space.
Searching for meaning among the chaos: Eleanor Turney reviews Duncan Macmillan’s adaptation of Paul Auster’s book.
A portrait of an artist: Rosemary Waugh reviews Concert Theatre’s take on Anne Brontë’s novel.
Don’t mention the F-word: Geoff Mills reviews Alistair Beaton’s play about – whisper it – shale gas extraction.
Friends until the end of time: Rosemary Waugh reviews Alice Nicholas’s new play about transgender teenagers.
Spectacular skill with nipple tassles: Sally Hales reviews Fancy Chance’s eclectic solo show in the heart of Soho.
BANG! and Whaam! Rosemary Waugh reviews the opening production in the Globe’s Summer of Love.
Purposeful, stylish and clearly defined: Adam Bruce falls in love with Deborah McAndrew’s adaptation of Anne Brontë 1848 novel.
What I’m suppose to think vs What I actually think: Fergus Morgan reviews the world premiere of Ivo van Hove’s Obsession.