‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.
‘Why and when did the other side stop Rocking Against?’: Naomi Obeng on music and activism in Middle Child’s new show about the Rock Against Racism movement.
Ancient and modern: Aniqah Choudhri reviews Christopher Haydon’s sleek production starring Lucy Ellinson as the murderous general.
‘Hedda will always be painful’: Eve Allin writes on Cordelia Lynn’s Ibsen update, and the difficulty of re-writing a trapped character.
Unholy matrimony: Louise Jones reviews Gracefool Collective’s unruly deconstruction of wedding traditions.
Polluted truths: Emily Holyoake writes on post-truth politics and cross-gender casting in Rebecca Lenkiewicz’s Ibsen update.
Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.
Memory road: Aniqah Choudhri reviews National Theatre of Scotland’s adaptation of celebrated poet Jackie Kay’s memoir.
Airlock of the heart: Christine Irvine reviews a visually dazzling but psychologically unsatisfying adaptation of the sci-fi classic from David Greig and Matthew Lutton.
‘I’ve never known Sherlock to have a Geordie accent’: Lauren Vevers writes on an atmospheric, distinctly Northern, Conan Doyle adaptation.
Ain’t no party like a Regency ball: Lilith Wozniak reviews Blood of the Young’s irreverent, karaoke-fueled take on Austen.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.
The green-eyed monster: Neil Dowden reviews Nicholas Wright’s drama about the dangerous rivalry between actors Paul Robeson and José Ferrer.
Say cheese: Ben Kulvichit reviews Tuyen Do’s finely wrought domestic drama, the first Vietnamese-British play to be seen on a UK stage.