Another portrait of the artist: Rosemary Waugh reviews Alan Franks’ new play about Lucian Freud.
Sin, sex and death: Crystal Bennes on a concert-style production of the great opera.
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
A crash, or a stubbornness: Rosemary Waugh reviews Zinnie Harris’s new version of Eugène Ionesco’s Rhinoceros at the EIF.
A long and arduous country ramble: Chris White reviews Jessica Barker-Wren’s rural tragicomedy.
Space for freethinking: Chris McCormack reviews the Abbey Theatre’s adaptation of a Ken Loach film.
Dreaming of a new destination: Chris McCormack reviews a double bill of two short plays by Tennessee Williams.
Strindbergian in intensity: Chris McCormack reviews Donnacha Dennehy and Enda Walsh’s new opera.
Lively, non-stop and irreverent: Louise Jones reviews the HandleBards high energy take on As You Like It.
Rattles along like high heels on a city sidewalk: Tracey Sinclair reviews Tori Scott performing in Brighton.
A magical flourish: Chris McCormack reviews Collapsing Horse’s production of a surreal Chekhovian comedy.
A bold, bright, and boisterous show: Emily Holyoake reviews a circus-themed version of Shakespeare’s comedy.
Beach combing: Rosemary Waugh reviews the 2017 Made in Bristol production.
Homecoming: Rosemary Waugh reviews a night of four work-in-progress plays by Welsh playwrights.
Trying to be part of the gang: Chris White reviews Sleeping Trees at the Boat Shed in Exeter.