An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.
From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre’s revival of Clare McIntyre’s Low Level Panic.
Don’t be put off by the doilies: Louise Jones reviews Philip Meeks’ play about Agatha Christie and Margaret Rutherford.
The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
A satisfying sense of dissatisfaction: Louise Jones reviews Box of Tricks’ production of Narvik.
A genuine, organic sense of energy: Adam Bruce finds Sunny Afternoon to be more than your average jukebox musical.
Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.
Alison Durkee reviews this Best of Edinburgh transfer to NYC.
Not only how the world is, but how it might be: Maddy Costa reviews See Me Now and The Space Between Us.
Come Dine With Me, Take II or, What Happened Next: Daniel Parks reviews Greg Wohead and Rachel Mars’ performance at NOW17.
Joe Hill-Gibbins strips away Shakespeare’s moonshine and magic, and replaces it with an awful lot of mud.
Loren Noveck reviews Branden Jacobs-Jenkins’ modern spin on a medieval morality play.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
A mixed bag, but a thoroughly engaging watch: Mary Halton reviews Tristan Bernays’ updating of biblical tales at the Vault festival.