Breakfast and malignment: Amy Borsuk reviews Howard Colyer’s adaptation of Franz Kafka’s The Trial.
There’s no use crying: Kate Wyver reviews Ross Dunsmore’s debut play about love and food.
Ending in the present: Chris White reviews Michael Laurence’s take on Beckett at the Edinburgh Fringe.
The sleech and the sounds and the silt: Katherine Kavanagh reviews Matt Regan’s conjuring of Belfast.
Finding your place when the place changes shape: New Yorker Nicole Serratore reviews an exploration of national identity at the Edinburgh International Festival.
The walls that keep us in and the walls that keep us out: Rafaella Marcus reviews Clean Break’s double bill in Edinburgh.
Not telling stories: Rosemary Waugh reviews an update of Bizet’s Carmen set in a refugee camp.
UniLad meets CBeebies: Amelia Forsbrook reviews a “flaccid and synthetically-aged operetta”.
A steampunk, dreamlike fantasia: David Ralf reviews James Thiérrée and company at the Edinburgh International Festival.
Our place in the city: Amelia Forsbrook reviews the “most exclusive immersive show in London”.
Everything spoken word should be: Chris White reviews a performance by Emmet Kirwan and Ian Lloyd Anderson.
Becoming un-eggnog-ed: Chris White reviews Mamoru Iriguchi’s experiment with Marlene Dietrich in 4D.
The story machine: Duška Radosavljević reviews Nassim Soleimanpour’s Blank at Summerhall.
Not getting the party started: Chris White reviews a too tame offering from Not Too Tame in Edinburgh.
Nicole Serratore reviews Thomas Ostermeier’s glitter cannon and percussion-heavy production of Richard III.