Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show
‘Mounting claustrophobia’: Tracey Sinclair reviews Patrick Hamilton’s classic, as part of the Brighton Fringe 2018.
With witnessing comes responsibility: Tinuke Craig’s double-bill debbie tucker green revival forces its audience into a community.
Fancy hats and flower arranging: Tracey Sinclair reviews comedian Simon Topping’s solo show.
A sonic pioneer: Noctium Theatre tell the story of the woman who created the Doctor Who theme tune (and much more).
“What is essential is invisible”: Morgan Creative’s adaptation of Antoine de Saint-Exupéry’s novella is handsome and imaginative.
A drama as deluded as its characters: Robert Higgins’ debut play goes on an unconvincing journey.
Angry and childishly misogynistic: Stewart Laing’s new Strindberg adaptation doesn’t challenge itself enough.
Pain felt through generations: Marina Carr’s play explores psychological trauma and family.
Fear in the 21st century: Frances Poet’s Bruntwood-shortlisted play is astute and unsettling.
Timelessness: Lilith Wozniak reviews a new production of Arthur Miller’s classic play
Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes.
Chris McCormack reviews Stephen Sondheim’s musical about nine people who attempted to assassinate US presidents
Fierce, real, awkward and fake: Lilith Wozniak reviews dance artist James Morgan’s show about myth, monsters and queer identity
A meditation on the writer: Chris McCormack reviews an experimental piece of theatre inspired by Samuel Beckett