Despite a slightly muddled production, Tracey Sinclair finds that Arthur Miller’s The Crucible remains as compelling and relevant as ever.
Other-worldly, historic and contemporary all at once: Andrew Edwards reviews Dance International Glasgow’s urban re-siting of this JG Ballard inspired solo dance show.
A particularly British nightmare: Lorna Irvine is at Dance International Glasgow to review Liz Aggiss’ boundary-breaking, genre-melding solo show.
It’s just one interpretation: Holly Williams on Imogen Knight’s “sensuously rich” production of Simon Stephens’ new play.
The ferocious fires of Ireland’s culture wars: Chris McCormack reviews Emily Gillmor Murphy’s dark new three-hander at Dublin’s Theatre Upstairs.
A low drone of anxiety: Catherine Love reviews El Conde de Torrefiel’s show as part of Transform 17.
“There’s no such thing as paranoia.” Rosemary Waugh reviews Titus Halder’s unsettling vision of what awaits after graduation.
Uneven, albeit thought-provoking: Victoria Willing’s new three-hander gets lost on the battlefields of the Somme, says Francesca Street.
Cognitive dissonance: Emma Smith reviews Katie Bonna’s one-woman show about lying.
A galvanising call to arms: Catherine Love reviews RashDash’s new show as part of Transform 17.
Energy, volume and trippy exuberance: Peter Kirwan reviews Ramps on the Moon’s superb new version of The Who’s Tommy.
Virtuosity hidden in the most allusive places: Chris McCormack is at Galway Theatre Festival to review Emma O’Grady’s unique solo show.
Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy’s first one-man show in over a decade.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.
Shock is their shtick: Catherine Love is at Transform 17 festival to review the UK premiere of Florentina Holzinger and Vincent Riebeek’s Wellness