Who cares?: Tracey Sinclair reviews John McKenna’s theatrical enquiry into Northern Ireland’s political landscape.
Brutalist brilliance: Francesca Peschier reviews Chris Bush and Richard Hawley’s sweeping musical ode to Sheffield’s Park Hill housing estate.
Emotionally invested: Naomi Obeng writes on a stage adaptation of a childhood favourite which ‘plainly plays with magic’.
Gazing into the mirror: Lilith Wozniak takes a trip to Newport to soak in Mike Brookes’ demanding, philosophical piece, the third in his Storm Cycle project for National Theatre Wales.
Privatisation and private moments: Tracey Sinclair reviews a double bill of plays addressing hot social issues as part of Live Theatre’s Elevator Festival for new work.
‘The lovechild of Guillermo del Toro and Charles Perrault’: Aniqah Choudhri reviews Birmingham Royal Ballet’s sumptuous, romantic version of the famous fairytale.
Raining on the parade: the magic of David Greig and Mark Knopfler’s musical adaptation of the much-loved 1983 film Local Hero is lost on Crystal Bennes.
‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.
‘Freed from traditional confines’: Tracey Sinclair, self-proclaimed ‘dance ignoramus’, reviews a double bill from BalletBoyz.
Ringing hollow: Louise Jones writes on the subtleties lost in adaptation in Out of Joint and Royal and Derngate’s co-production of Kazuo Ishiguro’s novel.
‘Alan Bennett with funkier hair’: Tracey Sinclair reviews a one-man show about political factionalism and punk music at Live Theatre’s Elevator Festival.
Last year’s model: Christine Irvine writes on attitudes towards technology in National Theatre of Scotland’s trilogy of tech-inflected dystopian shorts.
Taking it seriously: Tracey Sinclair reviews David Edwards’ demystifying verbatim show about the realities of living with OCD.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.