Friendship and doodling: Rosemary Waugh reviews Druid Theatre’s staging of Beckett at the Edinburgh International Festival.
‘The air of stifling, claustrophobic routine’: David Pollock reviews Martin McCormick’s absurdist play
Angry and childishly misogynistic: Stewart Laing’s new Strindberg adaptation doesn’t challenge itself enough.
Fear in the 21st century: Frances Poet’s Bruntwood-shortlisted play is astute and unsettling.
Dream-like ambiguities: a female-led team adapt Marguerite Duras’s 1984 novel of adolescent sexuality.
David Pollock reviews the Traverse Theatre’s two Christmas shows for 2017.
Sin, sex and death: Crystal Bennes on a concert-style production of the great opera.
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
A crash, or a stubbornness: Rosemary Waugh reviews Zinnie Harris’s new version of Eugène Ionesco’s Rhinoceros at the EIF.
Christine Irvine discovers Douglas Maxwell’s new work combines “the magic of a Grimm Brothers fairy-tale, with the magic of being fourteen and off your head on peach schnapps.”
Underdeveloped and ultimately forgettable: Caryl Churchill’s dissection of the nature/nurture debate is staged as part of the Edinburgh Science Festival.
Watching the world come to a standstill: Andrew Edwards reviews Stef Smith’s new play about technology and human connections.
A present tense of terror: Andrew Edwards reviews Agrupación Señor Serrano’s performance at the Manipulate festival 2017.
Where in the city do you belong? Andrew Edwards reviews the UK premiere of Théâtre De La Pire Espèce’s imaginary urban spaces work.
Boat building: Andrew Edwards reviews Tortoise in a Nutshell’s opening performance at Manipulate 2017.