Complex ideas and striking symbolism: Charlotte Jones makes a successful return to stage-writing with this nineteenth-century drama.
A company with really exciting ideas: Wilderbeast’s debut show is a mix of classy and clunky.
Substance over style: Sonya Kelly has penned three amusing and insightful short plays about home furnishings and their owners.
Guided by unbelievable forces: Cristín Kehoe’s new play interrogating Ireland lacks focus.
Heartbeats or voice recordings: Lilith Wozniak reviews Bristol’s Shakespeare at the Tobacco Factory at their new home in Bath.
A certain charm in their reliability… Tracey Sinclair reviews the latest show from the Classic Thriller Theatre Company.
RENAISSANCE! PLAYSUITS! Lilith Wozniak reviews a musical, double trouble performance by She Goat.
A wistful trip back: Chris McCormack reviews the second part of Roddy Doyle’s Barrytown Trilogy.
The Grey Zone disintegrates: Chris Collett reviews Javaad Alipoor’s interactive show on the internet as a space for extreme violence.
‘A vivid plea for understanding’: David Pollock reviews a promenade adaptation of Naoki Higashida’s book about the experience of autism.
Pertinent and unsettling: John Murphy reviews a stage adaptation of Ken Kesey’s novel.
Love and playwriting: Chris McCormack reviews Brian Friel’s two-part play.
A tough act to resist: Tracey Sinclair falls for the big-hearted charm of Laurence O’Keefe and Nell Benjamin’s stage adaptation on its national tour.
And what an atmosphere… Peter Kirwan reviews Mufaro Makubika’s award-winning play set in 1950s Nottingham.
Boom and bust: Chris McCormack reviews Veronica Dyas’ new play inspired by Bertolt Brecht’s The Mother.