Is it all just dopamine? Chris McCormack reviews Lucy Prebble’s new play about love and drugs.
Peter Kirwan reviews a production “torn between its desire to tell a specific emotional story and its impulse to universalise this narrative”.
Escaped Alone x 4: Rosemary Waugh provides yet another review of Escaped Alone.
Shakespeare done like it was before the Boer War: Fergus Morgan reviews Iqbal Khan’s Antony and Cleopatra.
Things haven’t changed greatly for Chekhov’s characters since last we saw them: Chris McCormack reviews Afterplay as part of the Beckett Friel Pinter festival.
Meh. Fergus Morgan is unimpressed by the RSC’s new production of Julius Caesar.
A study of authoritarianism: Chris McCormack reviews the final play in the Gate Theatre’s Beckett Friel Pinter festival.
Dangerously charged: Catherine Love reviews Footprint Theatre’s performance of Daniel in Manchester.
The National Theatre of Ireland goes self-reflexive: Chris McCormack reviews the homecoming of The Corn Exchange’s play about the founding of the Abbey Theatre.
Belongs to another place: Catherine Love reviews a stage adaptation of Ted Hughes’ prose poem.
Sumptuous and suitably gothic: John Murphy reviews Selma Dimitrijevic’s adaptation of Mary Shelley.
The delicate unpredictability of the plinth: Paul Hughes reviews Evangelia Kolyra’s performance in the Lace Market Gallery, as part of Nottdance 2017.
A thing of then and now and whatever the hell might be next: Catherine Love reviews Cock and Bull, two years on from when it was made.
Moving in the public space: Paul Hughes reviews Sioned Huws’ work performed in Sneinton Market in Nottingham city centre.
Ancient Greece set to synth pop: Tracey Sinclair reviews Pecho Mama’s retelling of the Medea myth.