Baggy where it should be tight, and flat where it should sparkle: Tracey Sinclair reviews the touring production of Ira Levin’s thriller
“Make Hibernia Great Again”: Chris McCormack reviews Ill-Advised Theatre Company’s post-truth satirical musical.
Grief, robbery and Christmas pudding: Kate Wyver reviews James Rowland’s show on tour in Bristol.
Memories aren’t to be trusted: Chris McCormack reviews a new work by Malaprop as part of the Dublin Fringe 2017.
Usual routines made uncanny: Chris McCormack reviews Junk Ensemble’s new work exploring violence in the military.
A brave new world: Chris McCormack starts off our coverage of the Dublin Fringe with a review of Simon Doyle’s radical rewriting of The Tempest.
Both local and universal: Matt Miller reviews David Almond’s resetting of the Orpheus and Eurydice myth in Tyneside.
“Invites us to share in a long wallow with a man consumed by self-pity”: Peter Kirwan discusses Matthew Spanger’s adaptation of Khaled Hosseini’s novel.
An anxiety dream for the nation: Chris McCormack reviews Caroline Byrne’s new production of Teresa Deevy’s unsettling drama.
Nostalgia-tinged: Tracey Sinclair reviews The Wedding Singer in Brighton as part of its UK tour.
The escape plan: Chris McCormack reviews David Grieg’s play about life on a remote island.
Guts and glitter: Tracey Sinclair reviews the touring production of Harvey Fierstein and Jerry Herman’s musical.
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.