Theatre Theresa May should be watching: Rosemary Waugh reviews Firebird Theatre’s new work about their company and how it got its name.
“A superbly executed concept by a blisteringly talented group”: Lucian Waugh reviews a modern update of Medea that shares much in common with opera.
A portrait of an artist: Rosemary Waugh reviews Concert Theatre’s take on Anne Brontë’s novel.
Friends until the end of time: Rosemary Waugh reviews Alice Nicholas’s new play about transgender teenagers.
Weirder than Westminster: Rosemary Waugh reviews Shakespeare at the Tobacco Factory’s modern Molière.
Making Steph Houghton proud: Naia Headland-Vanni reviews Sabrina Mahfouz and Hollie McNish’s play about female footballers.
Red shoes and red chairs: Kate Wyver responds to Matthew Bourne’s obsessive and passionate ballet.
Escaped Alone x 4: Rosemary Waugh provides yet another review of Escaped Alone.
Intense claustrophobia: Elena Angelides reviews Simon Stephens’ adaptation of A Doll’s House.
Penmanship: Rosemary Waugh reviews Stephanie Riding’s work about writing to male prisoners on death row.
Sensitive, witty and compassionate: Naia Headland-Vanni reviews Documental Theatre’s play about about young fatherhood.
A rallying cry for the celebration of imagination: Kate Wyver reviews Jack Thorne’s new musical at the Bristol Old Vic.
An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.
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.