“Home is not where you are born; home is where all your attempts to escape cease.” Daniel Perks reviews Inua Ellam’s spoken word performance.
Escaped Alone x 4: Rosemary Waugh provides yet another review of Escaped Alone.
Shakespeare done like it was before the Boer War: Fergus Morgan reviews Iqbal Khan’s Anthony and Cleopatra.
Things haven’t changed greatly for Chekhov’s characters since last we saw them: Chris McCormack reviews Afterplay as part of the Beckett Friel Pinter festival.
Alison Durkee reviews Jen Silverman’s moody riff on the Brontë sisters’ women.
Meh. Fergus Morgan is unimpressed by the RSC’s new production of Julius Caesar.
Caught between a weighty Rattigan drama and a fizzy feel-good farce: Brendan Macdonald reviews Trevor Nunn’s combining of Less than Kind and Love in Idleness.
A study of authoritarianism: Chris McCormack reviews the final play in the Gate Theatre’s Beckett Friel Pinter festival.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
The future is now, maybe. Seth Simons reviews.
Dangerously charged: Catherine Love reviews Footprint Theatre’s performance of Daniel in Manchester.
The National Theatre of Ireland goes self-reflexive: Chris McCormack reviews the homecoming of The Corn Exchange’s play about the founding of the Abbey Theatre.
First love: Holly O’Mahony reviews Stephen Laughton’s play about identity and loss.
Robert Lepage takes it home. Molly Grogan reviews.
A musical for ballet fans: Rosemary Waugh reviews the London premiere of An American In Paris.