A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
No museum piece: Sean Holmes’ self-aware modern-day Sean O’Casey revival doesn’t feel revolutionary.
You lucky, lucky people: Michael Longhurst’s Chichester production makes a triumphant London transfer.
Jodi Gray’s wolfish one-woman play is an exploration of ‘monstrous’ femininity and the male gaze.
Blood is thicker than water: Ava Davies writes on Francis Turnly’s The Great Wave.
A love letter to Blitz London: Aniqah Choudhri reviews Matthew Bourne’s wartime fairy-tale.
A teasing sext to the benchmarks of ballet: Ka Bradley reviews The Suit, and A Dream Within A Midsummer Night’s Dream.
Like Fantasia – only better: Amy Borsuk reviews Gyre & Gimble interpretation of Vivaldi using puppetry
Silence and noise: Peter Kirwan reviews Ramps on the Moon’s new show based on a text familiar to A-Level Theatre Studies students.
Black Lives Matter: Tearrance Arvelle Chisholm’s new play sets a family drama against the backdrop of Charlottesville.
Mirrors and warriors: Rosemary Waugh reviews Imogen Butler-Cole’s work about sexual violence and healing
Self-aware and triumphantly obscure: Miriam Gillinson reviews Josh Azouz’s new play involving a giant talking baby.
Powerful and poignant: Maresa von Stockert’s return to indoor staging is a compelling study of interaction and experience.
Garden party: Paul Miller’s revival of Charlotte Jones 2001 play is a leafy, laughter-filled delight.
Around the block: collaborative company Kandinsky’s new show is an intelligent history of housing.