A frightening picture, but not one it feels we’re on the verge of entering: Simon Gwynn reviews Theatre Ad Infinitum’s Light on its return to Battersea Arts Centre.
“What on earth am I watching here?”: Aniqah Choudhri has her preconceptions blown away by a modernised Jane Austen adaptation.
Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.
Desperation and fragility: Daniel Perks on a revival of the 1973 play about life on Apartheid-era Robben Island.
A gothic vaudevillian circus: Francesca Peschier reviews Sally Cookson’s version of Fellini’s masterpiece.
Properly unsettling: Tracey Sinclair reviews Ester Natzijl’s disconcerting work at the Brighton Fringe.
It’s a wrap: Rosemary Waugh reviews one of the last ever performances of Ontroerend Goed’s superb Sirens.
Full of complexity and nuance: Bridget Minamore is moved by Mandeep Raiky’s two-person dance piece exploring the criminalisation of homosexuality in India.
Lee Anderson and Annegret Märten discover metatheatrics, total theatre and a fug of Ostalgie at Berlin’s fortnight-long festival of German theatre.
A careful balance of farcical comedy and shocking drama: Peter Kirwan reviews Suba Das’ Northern Stage revival of Ayub Khan Din’s much-loved play.
Claire Takami Siljedahl reviews Francesca Beard’s new show about truth and deception at Cambridge’s Watch Out Festival.
Oil starts to drip from the ceiling… Geoff Mills writes a short play in response to the Mischief Festival double bill.
A small gem: Tracey Sinclair reviews Jack Rooke’s debut solo show at the Brighton Fringe.
A new, funny, cross intimacy: Lily James reviews Lucy and Addrian Hutson’s father-and-daughter performance at Cambridge’s Watch Out Festival
Enormous, terrifying power: Lily James writes on taking part in Jamal Harewood’s follow up to The Privileged, a collaborative show about the impact of words.