Singing us out in style: Tracey Sinclair reviews Dom Coyote & the Bloodmonkeys’ apocalyptic gig theatre.
“Gently exposes its audience’s attitudes”: Andrew Edwards reviews an immersive performance examining the spaces where people with disabilities are both users and creators of pornography.
Sensitive, witty and compassionate: Naia Headland-Vanni reviews Documental Theatre’s play about about young fatherhood.
Death. Illness. Identity: Catherine Love reviews the Sick! Festival in Manchester.
A joy to watch: Tracey Sinclair reviews Jessica Swale’s Nell Gwynn, as part of its UK tour.
A rallying cry for the celebration of imagination: Kate Wyver reviews Jack Thorne’s new musical at the Bristol Old Vic.
Putting politics to music: Christine Irvine reviews Drew Taylor’s “cathartic” work as part of the Take Me Somewhere festival.
Extraordinary in its range, excess and incision: Andrew Edwards reviews Jaamil Olawale Kosoko’s “challenging, necessary and entirely relevant” work as part of the Take Me Somewhere festival.
Realist and meta-realist: Chris McCormack reviews Malaprop Theatre’s new work about truth in the modern age.
An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.
Don’t be put off by the doilies: Louise Jones reviews Philip Meeks’ play about Agatha Christie and Margaret Rutherford.
A satisfying sense of dissatisfaction: Louise Jones reviews Box of Tricks’ production of Narvik.
A genuine, organic sense of energy: Adam Bruce finds Sunny Afternoon to be more than your average jukebox musical.
The rituals of folding, arranging and place-setting: Peter Kirwan reviews the Nottingham Playhouse’s fortieth anniversary production of Stephen Lowe’s Touched.
Loud, modern, sweary and stark: Rosemary Waugh reviews Shakespeare At The Tobacco Factory’s new production of Othello.