Billy Crudup plays a complicated nobody. Loren Noveck isn’t sure how much to believe him.
Ageing disgracefully: this Ayckbourn comedy’s best days are behind it.
Growing pains: H2Dance’s 2015 show meditates on ageing, memory, and the generation gap.
Walking in the air: Storyboard P’s Afrofuturist performance defies gravity to put a smile on your face.
The Room meets Grange Hill: Iain Hollingshead and Timothy Muller’s new high-school musical gets an F- from Francesca Peschier.
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
Your name is Ruby… William Drew goes on a binaural dinner date.
“As this is a piece of immersive theatre, it doesn’t work unless you follow the rules”: Amelia Forsbrook reviews Les Enfants Terrible’s staging of the story of Pussy Riot.
Ran Xia reviews Big Dance Theater’s interpretation of the diaries of Samuel Pepys.
Actress Jocelyn Bioh’s debut play lends freshness and nuance to familiar tropes.
Loren Noveck experiences the limits of unchecked invention.
Molly Grogan reviews Safe Harbors Indigenous Collective Project’s travels to hell and back.
‘Is this a safe space? Asking for a friend,’ Chris McCormack reviews TheatreofplucK’s performance as part of Outburst Queer Arts Festival 2017.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.