“Appealing pyromaniac tendencies” – Natasha Tripney reviews Gorčin Stojanović’s production of Don Juan.
Giving the unbelievable a fair hearing: Chris McCormack reviews Philip Conaughton’s new dance-opera about UFO sightings.
So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.
Wall to wall pressure: Rosemary Waugh reviews Jack Thorne’s new version of Woyzeck.
Bacchanalia and broccoli: Chris McCormack reviews Chris Haring and Michel Blazy’s collaboration, performed as part of the Dublin Dance Festival.
Keeping the despair at bay: Geoff Mills reviews Arthur Miller’s intended “time bomb” of a play.
“One of the hardest things for boys to learn is that a teacher is human…” Fergus Morgan reviews Matt Parvin’s play about the class clown and his former teacher.
Fizzing with wit and invention: Tracey Sinclair reviews The Hiccup Project’s performance at the Brighton Festival.
Issue-driven theatre: Fergus Morgan reviews Charlotte Josephine’s play about internet porn.
Still transcendent: Peter Kirwan revels in Bruce Guthrie’s “energetic” 20th-anniversary revival of this Broadway classic, structural flaws and all.
The best sort of Shakespeare production: Robert Hastie’s debut production as artistic director of Sheffield Theatres gives off all the right signals, says an excited John Murphy.
The universe will deliver: Chris McCormack is mesmerised by Maria Nilsson Waller’s “absorbing” new work at Dublin Dance Festival.
A tapestry of unrelenting sound: Gillian Greer reviews Nigel and Louise’s tribute to Margate.
Nudity made mundane: Tracey Sinclair reviews a night that’s midway between burlesque show and literary salon.
Jackie Montague reviews Camilla Beeput’s one-woman show as part of the Norfolk and Norwich Festival 2017.