Moving on is a struggle: Chris McCormack reviews Lucy Caldwell’s relocation of Chekhov to Belfast.
Adam Bock sets us up, to better upend expectations. Loren Noveck reviews.
Turning the verbal into the physical: Chris McCormack reviews Irish Modern Dance Theatre’s interpretation of King Lear.
Pushing the possibilities of movement: Rachel Elderkin reviews Candoco at Sadler’s Wells.
Disney princesses and the descent into the Underworld: Gillian Greer reviews Maud Dromgoole’s modern take on Euridyce and Persephone.
Light as frost, but never quite chilling: Christine Irvine reviews Rob Drummon’s taut family drama.
More powerful and poignant than ever: Annabel Mellor reviews Kemp Powers’ “skilfully crafted snapshot” of a play.
Tom Wicker reviews Daniel Alexander Jones’ ode to race, queerness and difference.
On a dull, dark and soundless day, Amy Borsuk finds herself in view of the melancholy House of Usher.
Clearing a name: Chris McCormack reviews Fearghus Ó Conchúir’s new dance work based on the life of Roger Casement.
Pearly whites with a lack of bite: Rosemary Waugh reviews the Bristol Old Vic’s new macabre musical.
How can anyone flawlessly jazz-up an issue? Fergus Morgan reviews Bryony Kimmings’ new musical about cancer. Warning: includes GBBO spoilers…
“Warmth and humanity… no matter how weird things get.” Sally Hales reviews the revival of Caryl Churchill’s Blue Heart.
Power through vulnerability: Amelia Cavallo reviews Nando Messias’ new work at the And What? Queer Arts Festival.
Strangled Androids and a murder case in the year 2021: Daniel Perks reviews Secret Studio Lab’s latest performance in East London.