A pairing of the whimsical and the sinister: Catherine Love reviews an eclectic double-bill at Manchester’s Flare Festival.
Communication breakdown: John Murphy reviews Sheffield Crucible’s revival of Nina Raine’s Olivier-nominated 2010 play.
Not with a bang but with a party popper: Catherine Love reviews the world premiere of Nigel Barrett and Louise Mari’s immersive apocalypse show.
A holey picture of holiness: Rosemary Waugh reviews Jonathan Church’s revival of David Hare’s Church of England play.
Engagingly rebellious: Emily Holyoake reviews Tom Ross-Williams and Oonagh Murphy’s riotous participatory, patriarchy-smashing show at Exeter’s Boat Shed Theatre.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.
A diamond in the rough: Lily James spends a day delving into the delights of Fusion Theatre Festival in Cambridge.
A beautifully nostalgic painting: Emily Holyoake reflects on Exeter Northcott’s fresh E. Nesbit adaptation and on the theatre’s recent resurrection as a producing house.
Rave theatre: Chris McCormack reviews a dystopian western at Cork Midsummer Festival.
Shifting the conversation from the mind to the gut: Catherine Love reviews Powder Keg’s new show about climate change.
Fascinatingly elegiac: Chris McCormack reflects on a revival of Lynda Radley’s 2011 play at Cork Midsummer Festival.
As loaded as its title: Chris McCormack reviews Painted Bird’s Susanne R. Day resurrection job at Cork Midsummer Festival.
Chilling isolation in an untameable wilderness: Christine Irvine reviews Blue Raincoat’s retelling of Ernest Shackleton’s doomed expedition.
Francesca Peschier reviews Manfred Karge’s play about “a mass let’s-pretend expedition”.
Searching in the dark: Chris McCormack reviews an autobiographical play about a bid to discover the author’s birth parents.