Banging away: Kneehigh’s latest adaptation is energetic but aimless.
No future: Catherine Love reviews Chris Goode’s furiously intelligent take on the punk movie classic.
Monkeying around: Gyre and Gimble’s latest puppetry-infused show is a total joy.
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.