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.
“Horror and grief seep, slither, crawl and loom”: Christine Irvine reviews Tom Wright’s new stage version of Joan Lindsay’s cult novel.
Creativity, imagination and anarchy: Christine Irvine reviews Anthony Neilson’s new version of Lewis Carroll’s classic children’s story.
Give it away: David Ralf reviews Jonny and the Baptists at the Edinburgh Fringe.
Digestive biscuits and acid house: David Ralf reviews In Bed With My Brother at the Edinburgh Fringe.
There’s no use crying: Kate Wyver reviews Ross Dunsmore’s debut play about love and food.
Ending in the present: Chris White reviews Michael Laurence’s take on Beckett at the Edinburgh Fringe.
The sleech and the sounds and the silt: Katherine Kavanagh reviews Matt Regan’s conjuring of Belfast.
Finding your place when the place changes shape: New Yorker Nicole Serratore reviews an exploration of national identity at the Edinburgh International Festival.