A wealth of variety and charm: Louise Jones review On the Wire’s From Shore to Shore.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
Brendan Macdonald reviews a musical about working life at Southwark Playhouse.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.
The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
Activism, terrorism, and Turkish politics shape this Performative Essay starring two tortoises
Molly Grogan reviews Martyna Majok on privilege, disabilities and the pursuit of happiness, in Jersey.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
Seth Simons finds Matthew Perry’s play “thoroughly average,” to be generous.
A living, breathing, contradictory thing: Brendan Macdonald reviews Ponyboy Curtis’ new work at The Yard.
This bird is stuck in its nest: Ross Gaynor’s eclectic new one-man drama at Dublin’s Theatre Upstairs doesn’t quite deliver, says Chris McCormack.
An exuberant, unflagging evening of entertainment: Arjun Sajip reviews Sleeping Trees’ double bill at Incoming festival.
Clare Lizzimore gets in the head of a woman trying to hold herself together. Tom Wicker reviews.