A dress rehearsal for an ideal world: Nabilah Said reviews a musical about three generations of the same family.
From “Shock” to “Acceptance”: Chris McCormack reviews a Dublin Fringe show about the end of everything.
Lilith Wozniak reviews a new show about raising children, Russian folklore and how the theatre industry supports mothers.
Stories are forbidden, but artistry has flourished elsewhere: Chris McCormack reviews a ‘wonderful’ children’s show at the Dublin Fringe.
The awkwardness of family dinners: Ava Davies reviews Stephen Karam’s Thanksgiving play.
More to life than love: Peter Kirwan reviews the Nottingham Playhouse’s first musical in over a decade.
Blood, sweat and more blood: Rosemary Waugh reviews the UK premiere of Clare Barron’s play about 13-year-old competitive dancers.
You have nothing to fear: Rosemary Waugh reviews Scottish Dance Theatre with a work inspired by Robert Mapplethorpe.
‘Anxious behaviour’: Crystal Bennes reviews a solo show based on the migratory instincts of the marsh warbler.
Crystal Bennes writes on a bilingual play that explores ideas of independence, identity and duality in Québec.
Makes a seemingly little play vast: Frey Kwa Hawking reviews the Public Acts production of Shakespeare’s Pericles.
A frenzied, facetious production: Crystal Bennes reviews Opéra de Lyon’s performance of Rossini’s Cinderella.
A study in dominance: Chris McCormack reviews the stage adaptation of Edith Wharton’s short story.
Natasha Tripney writes on the time-bending, memory-layering properties of returning to Edinburgh for the festival fringe, year after year.
Emotional disconnection: Lilith Wozniak writes on Katie Mitchell and Alice Birch’s unsettling retelling of a story of a sexual fantasy.