“Give this group a TV show”: Peter Kirwan reviews Nottingham-based comedy collective Major Labia’s nameless sketch show at Leicester Curve’s Inside Out festival.
The future of theatre? Geoff Mills reviews Curious Directive’s interrogatory show combining live performance with VR technology.
A small-scale, contemporary rags-to-riches story: Emily Holyoake reviews Tom Nicholas’s new play based around video games and depression.
“A well-deserved second wind”: Tracey Sinclair reviews English Touring Theatre’s revival of Sam Holcroft’s Ayckbourn-esque 2015 comedy.
Cold as raw data: Chris McCormack reviews Stacey Gregg’s contemporary take on Kafka’s The Trial.
Jealousy, longing, loneliness and insecurity: Chris McCormack reviews a revival of Eugene McCabe’s rarely-performed play set in rural Ireland.
Devastating and dignified: Peter Kirwan reviews Fiona Buffini’s timely revival of Arthur Miller’s classic American drama.
“It seems misguided to smooth over the edges in a novel like Ulysses”: Chris McCormack is disappointed by Graham McLaren’s Abbey Theatre staging of James Joyce’s modernist masterpiece.
Work that wants to change people: Maddy Costa reviews Slung Low’s Flood Parts 1 – 4.
You can feel the bombs rumbling through your shoes: Lilith Wozniak reviews a site-specific immersive show about the siege of Leningrad.
A den of egoists: Chris McCormack reviews the Gate Theatre’s production of Nina Raine’s family drama.
A brilliant tongue in cheek look at the life of a woman in the 1800s: Louise Jones reviews Sara Pascoe’s version of Jane Austen.
An ambitious reimagining: Chris McCormack reviews a new play inspired by Ibsen’s A Doll’s House.
A meditation on loss: Chris McCormack reviews Dead Centre’s new production about Shakespeare’s son.
“More than mere monster”: Tracey Sinclair reviews Neil Bartlett’s “fresh and relevant” staging of Jean René Lemoine’s radical, one-man reworking of the Medea myth.