A wistful trip back: Chris McCormack reviews the second part of Roddy Doyle’s Barrytown Trilogy.
‘Margot didn’t lend Elle her lucky scrunchie to be almost entirely written out of the narrative’: Francesca Peschier reviews the stage version of the classic (CLASSIC) film.
‘The broken among us teach us to be human’: Duška Radosavljević reviews Anna Deavere Smith’s verbatim show as part of LIFT 2018.
‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
‘Vintage, village green circus at its absolute best’: Freddie Machin reviews Gifford’s Circus’ latest show.
The Grey Zone disintegrates: Chris Collett reviews Javaad Alipoor’s interactive show on the internet as a space for extreme violence.
Defiance is at the heart of its genius: Jennifer-Jane Benjamin reviews the National Theatre transfer of Brandon Jacobs-Jenkins’s play.
‘A vivid plea for understanding’: David Pollock reviews a promenade adaptation of Naoki Higashida’s book about the experience of autism.
‘We’re all Beverlys here’: Ka Bradley reviews Rhiannon Faith’s dance-based work about domestic abuse.
Pertinent and unsettling: John Murphy reviews a stage adaptation of Ken Kesey’s novel.
Love and playwriting: Chris McCormack reviews Brian Friel’s two-part play.
Hope, comedy, violence and suffering: Rotimi Babatunde’s stage adaptation of Lola Shoneyin’s novel is a sweet show that leaves a sour taste.
A tough act to resist: Tracey Sinclair falls for the big-hearted charm of Laurence O’Keefe and Nell Benjamin’s stage adaptation on its national tour.
Messy, flawed, slippery: Rosemary Waugh on an intriguing revival of Sophie Treadwell’s 1928 play.
Folklore or fun: this double-bill of solo dances curated by the Akram Khan Company compelling blends tradition and innovation.