Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
Diamonds in a rhinestone world: Francesca Peschier writes on Dolly Parton’s musical theatre extravaganza.
The roaring twenties: J N Benjamin writes on Arthur Miller’s suspenseful drama of an America in decline.
Pure artifice: Ava Wong Davies writes on Ivo van Hove’s stylish, performative recasting of the backstage movie.
The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.
Keep the faith: Tracey Sinclair reviews the The Letter Room’s uplifting, music-filled performance about overcoming depression.
Mixed messages: Aniqah Choudhri reviews a dystopian, future-set adaptation of Brecht’s political parable.
Untranslatable: Henry Gleaden writes on Jaha Koo’s melancholy performance about the personal impact of South Korea’s financial crisis.
A familiar family: Ben Kulvichit writes on Chippy Lane Production’s new play and its echoes of 20th Century American playwrights
The limits of goodness: Duska Radosavljevic writes on a staging of Brecht by Moscow Pushkin Drama Theatre.
Radio dramas and foley secrets: Rosemary Waugh writes on an ingenious staging of two vintage Pinters.
Nightmare room: Eve Allin reviews Daniel Bailey’s surreal production of Joe Penhall’s dissection of systemic racism in the mental health care system.
Young adult: Emily Holyoake on Pilot Theatre’s new staging of Malorie Blackman’s novel and theatre for teenage audiences.
‘A sharp, metallic taste you’re not expecting’: Ben Kulvichit writes on strangeness and power in the Yard’s double-bill of live art by Tim Spooner & Tom Richards and Ira Brand.
Sweating the small stuff: Sally Hales reviews Rose Lewenstein’s new play, which explores climate change through an intimate depiction of a relationship.