Short, bright and entertaining: Adam Bruce reviews the RSC’s production of The Tempest for younger audiences.
The qualities of agony, anxiety and desire contained within endings: Andrew Edwards reviews Company of Wolves’ new work in Glasgow.
A portrait of two bodies resisting: Maddy Costa reviews Rachael Young and Dwayne Antony’s performance at IBT17.
“Are you meditating?” Kate Wyver takes part in French and Mottershead’s site-specific show about the body after death.
‘Hipster’, not ‘ipster’: Adam Bruce reviews Headlong’s modern update of Bernard Shaw’s famous work.
Stuck in a cycle: Chris McCormack reviews the debut play by novelist Kevin Barry.
The things that can and can’t be said: Peter Kirwan reviews Jane Upton’s “deeply affecting” play about child sexual exploitation.
Two men are dancing: Maddy Costa reviews Lone Twin’s durational performance at Bristol’s In Between Time festival.
“Every man has the Dáil in his head”: Chris McCormack reviews a stage adaptation of John B. Keane’s novellas
Over-mannered and under-nuanced: Tracey Sinclair reviews Anthony Banks’ production of Gaslight.
A present tense of terror: Andrew Edwards reviews Agrupación Señor Serrano’s performance at the Manipulate festival 2017.
Fanatical curtain-twitchers: Chris White reviews the start of the UK tour of Theatre Alibi’s new show.
In rehearsal: Chris McCormack reviews a stripped-down King Lear aimed at younger audiences.
Where in the city do you belong? Andrew Edwards reviews the UK premiere of Théâtre De La Pire Espèce’s imaginary urban spaces work.
Somewhere across the icy waters: Catherine Love reviews Liz Nunnery’s WWII play with songs.