“A spectator, no less than a society, is complicit”: Chris McCormack reviews a site-specific production about the history of the Irish family.
All the colours of the rainbow: Rosemary Waugh reviews Tamara Harvey’s visually beautiful production of Uncle Vanya.
Thatcher’s children: Catherine Love reviews a stage adaptation of Bernard Hare’s Urban Grimshaw and the Shed Crew.
“It’s impossible not to be drawn into the atmosphere”: John Murphy reviews Sam Yates’ revival of Eugene O’Neill’s classic tragedy at Sheffield’s Crucible Theatre.
Remarkably fresh, depressingly relevant: Tracey Sinclair sees the contemporary parallels in Gore Vidal’s 1960 political thriller about a hard-fought race for The White House.
“If Wesley Snipes did Shakespeare…”: Geoff Mills reviews Angus Jackson’s production of Coriolanus, the final instalment in the RSC’s up-and-down Rome season.
Never quite sets on fire: Geoff Mills reviews the Royal Shakespeare Company’s performance of Christopher Marlowe.
‘We have to stumble along the way and admit to our mistakes’: Catherine Love reviews Testament’s show about feminism and becoming a father.
Chris McCormack reviews an “excellent and beguiling new play” about living with autism in contemporary Ireland.
Thornton Wilder’s 1938 play is a “giddily expansive” exploration of community and the passing of time.
Forget heteronormativity: Sara Pascoe’s hilarious reimagined Jane Austen romance breaks all the rules.
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.”