A story that speaks without words: Cathy Marston’s adaptation for Northern Ballet unleashes the soul of Charlotte Brontë.
‘Like any fairground ride, Phobiarama is not subtle’: Alice Saville rides Dries Verhoeven’s ghost train at LIFT 2018.
“Deeply meaningful theatre”: Paterson Joseph’s one-man play about the first black man to vote in Britain is rich and resonant.
A need for connection: Berri George’s new play centres on two graffiti-obsessed, thrill-seeking teenagers.
Kristina’s play: Rosemary Waugh reviews Polly Stenham’s adaptation of August Strindberg
‘Comforting and clinical textures’: Josephine Balfour-Oatts reviews Anthony Neilson’s production of two plays by Lars Norén.
Residue as runes: Maddy Costa reviews Gob Squad, as part of LIFT 2018.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.
Emotional Labour: Sally Hales reviews Emily Schwend’s play about an overstretched Texan mother.
And what an atmosphere… Peter Kirwan reviews Mufaro Makubika’s award-winning play set in 1950s Nottingham.
A cat among the swans: Liam Scarlett’s interpretation gets three big ticks from Anna Winter.
‘An epic display of female emotion’: Nabilah Said reviews a contemporary opera of Euripides’ tragedy, as part of LIFT 2018.
Bullish, gentle, broken, blazing: Simon Stephens, Karl Hyde and Scott Graham’s interrogation of father-son relationships gets to you eventually.
Playing for England: Sabrina Mahfouz and Hollie McNish’s story of women and the beautiful game is touring football clubs and theatres nationwide.
Hall of amusements: set in a decaying seaside resort, this rarely staged Kander and Ebb musical has a warm mother-daughter bond at its heart.