Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.
A frenzied, facetious production: Crystal Bennes reviews Opéra de Lyon’s performance of Rossini’s Cinderella.
‘Deeply, profoundly ridiculous, but an enjoyable night at the theatre all the same’: Crystal Bennes reviews an attempted update of John Gay’s ballad opera.
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.