An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.
Don’t be put off by the doilies: Louise Jones reviews Philip Meeks’ play about Agatha Christie and Margaret Rutherford.
A satisfying sense of dissatisfaction: Louise Jones reviews Box of Tricks’ production of Narvik.
A genuine, organic sense of energy: Adam Bruce finds Sunny Afternoon to be more than your average jukebox musical.
The rituals of folding, arranging and place-setting: Peter Kirwan reviews the Nottingham Playhouse’s fortieth anniversary production of Stephen Lowe’s Touched.
Loud, modern, sweary and stark: Rosemary Waugh reviews Shakespeare At The Tobacco Factory’s new production of Othello.
24-fingered 24-hour care: Rosemary Waugh reviews Pipeline Theatre’s show about robot carers.
State of the nation theatre (with a side of chips): Rosemary Waugh reviews Katy Baird’s performance of Workshy as part of IBT17.
Mining private grief for public spectacle: Chris McCormack reviews Ellen Flynn’s new drama about trauma and surveillance.
This is unquestionably about identity: Catherine Love reviews Lucy Jane Parkinson in JOAN.
A vast journey through a personal history: Chris McCormack reviews a site specific production of Enda Walsh’s unnerving new play.
We don’t talk about HIV. Not really: Chris White reviews Tom Marshman’s solo show about 1980s Kings Cross as part of the Exeter LGBT History Festival 2017.
The truly transformative nature of Graeae’s approach can’t be underestimated: Joe Turnbull from Disability Arts Online reviews a new production of Lorca’s play using an all-female, D/deaf and disabled cast.
With a swagger as irresistible as its titular hero: John Murphy reviews the new musical inspired by the television programme Drag Queen At 16.
Your body is yours, take it: Rosemary Waugh reviews Vivian Chinasa Ezugha’s performance at IBT17.