Heading towards the green light: Chris McCormack reviews an immersive staging of F. Scott Fitzgerald’s famous novel.
A never-ending supply of cheese-based puns: Chris White reviews the Narwhal Ensemble.
Satirical comment beaten into submission: Christine Irvine reviews the Tron Theatre’s resurrection of Anthony Neilson’s Christmas-time comedy.
“A suburban Dublin equivalent of Sartre”: Chris McCormack reviews the Abbey Theatre’s staging of Roddy Doyle’s Facebook dialogues.
“Better off at the pub”: Chris White laments the lack of peanuts and lager at Pub Talks’ Pint Sized Conversation.
Catherine Love on a flimsy gig-theatre exploration of the Lancashire Cotton Famine.
Il Pirata and I: Chris White reviews a one-man show about cyclist Marco Pantani.
A very British dissection of American popular culture: Catherine Love reviews a double bill of works at Flare Festival 2017.
A pairing of the whimsical and the sinister: Catherine Love reviews an eclectic double-bill at Manchester’s Flare Festival.
Communication breakdown: John Murphy reviews Sheffield Crucible’s revival of Nina Raine’s Olivier-nominated 2010 play.
Not with a bang but with a party popper: Catherine Love reviews the world premiere of Nigel Barrett and Louise Mari’s immersive apocalypse show.
A holey picture of holiness: Rosemary Waugh reviews Jonathan Church’s revival of David Hare’s Church of England play.
Engagingly rebellious: Emily Holyoake reviews Tom Ross-Williams and Oonagh Murphy’s riotous participatory, patriarchy-smashing show at Exeter’s Boat Shed Theatre.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.
A diamond in the rough: Lily James spends a day delving into the delights of Fusion Theatre Festival in Cambridge.