Sunday night TV: Roy Marsden’s touring stage adaptation of Ruth Rendell’s classic thriller is solid and serviceable.
Sunshine and suicide: Rosemary Waugh reviews the English National Ballet’s performance of Nureyev’s take on Shakespeare.
Christmas is the time for revenge: Chris McCormack reviews Philip St. John’s new supernatural drama.
Can an emoji transform back into real emotion? Jarlath Tivnan’s new play asks compelling questions of mental illness.
Ageing disgracefully: this Ayckbourn comedy’s best days are behind it.
‘Is this a safe space? Asking for a friend,’ Chris McCormack reviews TheatreofplucK’s performance as part of Outburst Queer Arts Festival 2017.
Wildean wantonness: Christopher Luscombe’s resplendent revival is luscious but loud.
Resolution isn’t that simple: Chris McCormack reviews Owen McCafferty’s new play at the Abbey Theatre.
Delights at the same time as it challenges: Lilith Wozniak reviews Myrtle Theatre’s follow-up to Up Down Boy.
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.