“I want to cover it in chutney and make it into an orgasmic sandwich”: Francesca Peschier on the Wales Millenium Centre revival of Manfred Karge’s 1982 one-woman epic.
A subtle, gracefully outlined coping mechanism: Eve Allin reviews Jamila Johnson-Small’s solo project as part of Fierce Festival 2017.
“A female Alan Bennett with the voice of an angel”: Tracey Sinclair reviews Catherine Ireton’s touring one-woman show about little acts of bravery.
“A powerful, unforced stage presence”: Geoff Mills reviews Stephen Unwin’s touring production of Tom Stoppard’s dazzling 1982 classic starring Laurence Fox.
“Give this group a TV show”: Peter Kirwan reviews Nottingham-based comedy collective Major Labia’s nameless sketch show at Leicester Curve’s Inside Out festival.
The future of theatre? Geoff Mills reviews Curious Directive’s interrogatory show combining live performance with VR technology.
A small-scale, contemporary rags-to-riches story: Emily Holyoake reviews Tom Nicholas’s new play based around video games and depression.
“A well-deserved second wind”: Tracey Sinclair reviews English Touring Theatre’s revival of Sam Holcroft’s Ayckbourn-esque 2015 comedy.
Cold as raw data: Chris McCormack reviews Stacey Gregg’s contemporary take on Kafka’s The Trial.
Jealousy, longing, loneliness and insecurity: Chris McCormack reviews a revival of Eugene McCabe’s rarely-performed play set in rural Ireland.
Devastating and dignified: Peter Kirwan reviews Fiona Buffini’s timely revival of Arthur Miller’s classic American drama.
“It seems misguided to smooth over the edges in a novel like Ulysses”: Chris McCormack is disappointed by Graham McLaren’s Abbey Theatre staging of James Joyce’s modernist masterpiece.
Work that wants to change people: Maddy Costa reviews Slung Low’s Flood Parts 1 – 4.
You can feel the bombs rumbling through your shoes: Lilith Wozniak reviews a site-specific immersive show about the siege of Leningrad.
A den of egoists: Chris McCormack reviews the Gate Theatre’s production of Nina Raine’s family drama.