The best sort of Shakespeare production: Robert Hastie’s debut production as artistic director of Sheffield Theatres gives off all the right signals, says an excited John Murphy.
Nudity made mundane: Tracey Sinclair reviews a night that’s midway between burlesque show and literary salon.
Jackie Montague reviews Camilla Beeput’s one-woman show as part of the Norfolk and Norwich Festival 2017.
Being wooed: Rosemary Waugh reviews Ravi Jain’s show about arranged marriage and families.
Theatre Theresa May should be watching: Rosemary Waugh reviews Firebird Theatre’s new work about their company and how it got its name.
Underpinned with a fury at the injustice of it all: Tracey Sinclair is completely won over by Jonny Donahoe and Paddy Gervers’ musical about ‘Rich Bastard Tories’.
A characteristically touching return: Christine Irvine warms to Ramesh Meyyappan’s new solo show exploring mental health through physicality and magic.
“A superbly executed concept by a blisteringly talented group”: Lucian Waugh reviews a modern update of Medea that shares much in common with opera.
Christine Irvine discovers Douglas Maxwell’s new work combines “the magic of a Grimm Brothers fairy-tale, with the magic of being fourteen and off your head on peach schnapps.”
Colour-telly ambience: Christine Irvine reviews the world premiere of Blood of the Young’s play about a pioneer of electronic music.
Reasons to be cheerful: Chris McCormack finds Northern Ireland Opera’s production of Radamisto too optimistic in outlook.
Tracey Sinclair reviews Tamara Saulwick’s meditation on modern death as part of the Brighton Festival.
Magical-realism by way of light yet damning political critique: Catherine Love reviews Alan Harris’ “strange, delicate” 2015 Bruntwood Prize-winner.
Emily Holyoake admits to not quite having the stomach for Chris Harrisson’s visceral storytelling.
Here’s to you, Mrs Robinson: Adam Bruce is seduced Lucy Bailey’s revival of Terry Johnson’s stage adaptation of Charles Webb’s seminal novel.