I thought you used to teach postmodernism? Geoff Mills provides the second instalment in his Stratford-upon-Avon play/reviews.
Sing it loud: Chris McCormack reviews a new children’s show about revolution as part of the Dublin Fringe 2017.
Somewhere between a performance installation and a tribute to Phoenix Nights: Matt Miller reviews Newcastle’s newest night of performance art.
Catherine Love reviews Daniel Bye’s new show about the “complex mix of complicity, complacency, fear and the desire to do something.”
Roosting on Dublin’s docklands, this featherlight circus spectacle explores a place in collapse.
Baggy where it should be tight, and flat where it should sparkle: Tracey Sinclair reviews the touring production of Ira Levin’s thriller
“Make Hibernia Great Again”: Chris McCormack reviews Ill-Advised Theatre Company’s post-truth satirical musical.
Grief, robbery and Christmas pudding: Kate Wyver reviews James Rowland’s show on tour in Bristol.
Memories aren’t to be trusted: Chris McCormack reviews a new work by Malaprop as part of the Dublin Fringe 2017.
Usual routines made uncanny: Chris McCormack reviews Junk Ensemble’s new work exploring violence in the military.
A brave new world: Chris McCormack starts off our coverage of the Dublin Fringe with a review of Simon Doyle’s radical rewriting of The Tempest.
Both local and universal: Matt Miller reviews David Almond’s resetting of the Orpheus and Eurydice myth in Tyneside.
“Invites us to share in a long wallow with a man consumed by self-pity”: Peter Kirwan discusses Matthew Spanger’s adaptation of Khaled Hosseini’s novel.
An anxiety dream for the nation: Chris McCormack reviews Caroline Byrne’s new production of Teresa Deevy’s unsettling drama.
Nostalgia-tinged: Tracey Sinclair reviews The Wedding Singer in Brighton as part of its UK tour.