Dead good: Louise White’s eclectic exploration of mortality is ebullient and profound.
An extraordinary coda: Giles Croft marks the end of his tenure at Nottingham Playhouse in poignant style.
Seems to push at the boundaries of your brain: Andrew Edwards reviews Robbie Thomson’s work as part of Sonica 2017.
A noise not possible on dry land: Andrew Edwards reviews Between Music’s performance playing custom-made musical instruments underwater.
“The audience is both invited in and held at arm’s length”: Emily Holyoake reviews O&O’s devised piece about coping with looking different.
“A self-consciously messy, freeform paean to the experience of making music”: Peter Kirwan reviews Sheep Soup’s boldly structureless new musical at Leicester’s Curve Theatre.
Overthinking overthinking: Rosemary Waugh reviews the UK touring production of People, Places & Things.
The Chocolate Cream Poisoner: Tracey Sinclair reviews the second show in the Theatre Royal Brighton’s Out of Hours season.
“I want to cover it in chutney and make it into an orgasmic sandwich”: Francesca Peschier on the Wales Millenium Centre revival of Manfred Karge’s 1982 one-woman epic.
A subtle, gracefully outlined coping mechanism: Eve Allin reviews Jamila Johnson-Small’s solo project as part of Fierce Festival 2017.
“A female Alan Bennett with the voice of an angel”: Tracey Sinclair reviews Catherine Ireton’s touring one-woman show about little acts of bravery.
“A powerful, unforced stage presence”: Geoff Mills reviews Stephen Unwin’s touring production of Tom Stoppard’s dazzling 1982 classic starring Laurence Fox.
“Give this group a TV show”: Peter Kirwan reviews Nottingham-based comedy collective Major Labia’s nameless sketch show at Leicester Curve’s Inside Out festival.
The future of theatre? Geoff Mills reviews Curious Directive’s interrogatory show combining live performance with VR technology.
A small-scale, contemporary rags-to-riches story: Emily Holyoake reviews Tom Nicholas’s new play based around video games and depression.