Entirely unpromising: Eleanor Turney reviews a revival of the musical based on Billy Wilder’s The Apartment.
Patrick Maley reviews Druid Theatre’s powerful revival in NYC.
Seth Simons reviews a touching, lively tribute to Willy Chevalier.
An elegant riot against control: Amelia Forsbrook reviews Boy Blue Entertainment at the Barbican.
“Horror and grief seep, slither, crawl and loom”: Christine Irvine reviews Tom Wright’s new stage version of Joan Lindsay’s cult novel.
Relationships and identities formed by relativity or intimacy: Ka Bradley reviews a mixed bill of performances as part of Resolution 2017.
Yea, slimy things did crawl with legs, / Upon the slimy sea: Emma Smith reviews Simon David Eden’s journey into the American Dream.
“The world’s Tamsins have no use for theatregoers’ tears.” Sally Hales reviews Katherine Soper’s Bruntwood Prize-winning play at the Royal Court.
Behind the scenes: Rosemary Waugh reviews Familie Flöz at the Peacock Theatre as part of the London International Mime Festival.
“It may just be coincidence…” Amelia Forsbrook reviews Matthew Sprangler’s adaptation of Khaled Hosseini’s best-selling novel.
“Love, compassion, art and class”: Neil Dowden reviews Andrew Maddock’s new play at Theatre N16.
“Intelligent, but coolly so.” Sophie Baggott reviews the UK premiere of Tom Jacobson’s play about the entrapment of gay men by the LA police.
Belarus Free Theater focuses on the present while looking back at 2010. Molly Grogan reviews.
The Bard meets Mr Potatohead: Sally Hales reviews Les Antliaclastes’ dissection of the Shakespeare industry.
Philippe Quesne’s Vivarium Studio inflates its park of dreams at Under the Radar. Molly Grogan reviews.