All the colours of the rainbow: Rosemary Waugh reviews Tamara Harvey’s visually beautiful production of Uncle Vanya.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.
“Le Grand Mort feels like the most petite of gestures”: Brendan Macdonald on a disappointing dinner party-based vehicle for Julian Clary.
Thatcher’s children: Catherine Love reviews a stage adaptation of Bernard Hare’s Urban Grimshaw and the Shed Crew.
“It’s impossible not to be drawn into the atmosphere”: John Murphy reviews Sam Yates’ revival of Eugene O’Neill’s classic tragedy at Sheffield’s Crucible Theatre.
Remarkably fresh, depressingly relevant: Tracey Sinclair sees the contemporary parallels in Gore Vidal’s 1960 political thriller about a hard-fought race for The White House.
“If Wesley Snipes did Shakespeare…”: Geoff Mills reviews Angus Jackson’s production of Coriolanus, the final instalment in the RSC’s up-and-down Rome season.
Requardt and Rosenberg’s Deadclub “clashes a children’s party with the ticking timebomb of our own inevitable demise”.
“Too long forgotten”: Amy Borsuk reviews the London transfer of Alice Childress’s play.
Never quite sets on fire: Geoff Mills reviews the Royal Shakespeare Company’s performance of Christopher Marlowe.
From self-aware 90s moshing to hastily resolved first sex: Sally Hales reviews a coming-of-age story set in the Scottish Highlands.
A loving portrait of an unlovable industry: James Graham’s play about The Sun’s founding days transfers to the West End.
‘We have to stumble along the way and admit to our mistakes’: Catherine Love reviews Testament’s show about feminism and becoming a father.
Chris McCormack reviews an “excellent and beguiling new play” about living with autism in contemporary Ireland.
Thornton Wilder’s 1938 play is a “giddily expansive” exploration of community and the passing of time.