You won’t look at dry cleaning bags with such ease ever again: Francesca Peschier reviews Silent Faces’ office-based comedy.
The bizarre and the nastiness in the everyday: Francesca Peschier reviews a forgotten play by Auden and Isherwood
A vindication of female oddness: Patsy Ferran stars in Tennessee William’s painful study of anxiety, passion and loneliness.
1001 Ballets To See Before You Die: Lucian Waugh reviews three new dance works by Emily Molnar, Crystal Pite, and Sharon Eyal & Gai Behar
Dangerously close: Alexander Matthews’ social drama set in a South London Indian Restaurant just about skirts stereotyping.
Rip-roaringly funny: Naomi Sheldon’s Edinburgh Fringe hit makes a triumphant transfer to London.
Locked and loaded: the Scottish premiere of Stephen Adly Guirgis’ comedy is “blisteringly enjoyable”.
Shopping bags and parcel tape: Rosemary Waugh reviews Rufus Norris’s after-the-war Shakespeare.
Going Greene: Bryony Lavery’s new adaptation of Brighton Rock is unsettling and menacing.
Mission Abort: Tara Flynn’s one-woman play with songs is a surprising satire on Ireland’s treatment of women.
Farewell, puritanism: Rosemary Waugh reviews the stage adaptation of Ingmar Bergman’s famous film.
Two sides, one story: Nabilah Said reviews the stage adaptation of Ghassan Kanafani’s novella.
Stephanie Jacob’s new play about modern slavery is ‘menacingly volatile’.
Francesca Peschier has a long, hard think about why she didn’t like this.
Bodies for sale: Rosemary Waugh reviews Sasha Waltz & Guests’ human-focused dance work