No future: Catherine Love reviews Chris Goode’s furiously intelligent take on the punk movie classic.
Monkeying around: Gyre and Gimble’s latest puppetry-infused show is a total joy.
Winter is coming: Joan Clevillé Dance’s second full-length show heads north on a journey of discovery.
Dead good: Louise White’s eclectic exploration of mortality is ebullient and profound.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.
An extraordinary coda: Giles Croft marks the end of his tenure at Nottingham Playhouse in poignant style.
Images of trauma: Corrie Tan on a didactic revival of Brecht’s classic, starring comedian Josie Lawrence.
“A grief whose depths I can’t imagine”: Andrew Edwards reviews a sonic meditation on the North Sea Flood of 1953.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.
“Smart, sharp and exhilarating”: Brendan Macdonald reviews Thomas Eccleshare’s thrillingly tricksy two-hander about the stories behind the stories.
A tender chemistry: Corrie Tan reviews the premiere of Stewart Pringle’s Papatango Prize-winning play.
Wartime ennui: Brendan Macdonald reviews a stage adaptation of Patrick Hamilton’s novel.
I want to tell her the baby does stop crying, eventually: Maddy Costa reviews the UK premiere of Magali Mougel’s play about motherhood.
Seems to push at the boundaries of your brain: Andrew Edwards reviews Robbie Thomson’s work as part of Sonica 2017.
Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.