Molly Grogan visits Enda Walsh’s city of ghosts.
Rinse, repeat, ad infinitum: Lee Anderson review Forced Entertainment’s performance at Theatertreffen 2017.
“The first pretend Tory I’ve ever almost-liked.” Gillian Greer reviews Stephen Brown’s new play about MP Rory Stewart.
A superbly danced and successful piece of storytelling: Anna Winter examines Northern Ballet’s new show about the 18th-century Italian philanderer and his remarkable, reprehensible life.
Surprisingly stagnant: Brendan Macdonald reviews the UK premiere of Alexandra Badea’s award-winning play about the effects of globalisation.
Tracey Sinclair reviews Tamara Saulwick’s meditation on modern death as part of the Brighton Festival.
A vital lesson: B. L. Sherrington reviews Jon Barton’s reimagining of this classic children’s tale and finds hope in the enlightened education it provides.
Magical-realism by way of light yet damning political critique: Catherine Love reviews Alan Harris’ “strange, delicate” 2015 Bruntwood Prize-winner.
Disrobing the myth: Rosemary Waugh reviews Yaël Farber’s retelling of the story of Salomé.
Sound issues aside, Eleanor Turney still has a “highly entertaining” evening with the Park Theatre’s staging of Jonathan Larson’s early musical.
Patrick Maley enjoys the snacks, not so much the drama, in Target Margin’s revival.
The gentle tracing of our pens on paper: Kate Wyver draws Hannah Sullivan in her “infinitely delicate” one-on-one participatory show in Bristol.
Beautiful images of growth, change and rebirth: Andrew Edwards is mesmerised but left cold by Fleur Darkin’s eclectic Scottish Dance Theatre show at Tramway.
Corrie Tan finds that “Shepard’s 1985 text still glitters with despair and devastation.”
Emily Holyoake admits to not quite having the stomach for Chris Harrisson’s visceral storytelling.