Brains and guts beneath glitzy excess: Sh!t Theatre’s love letter to Dolly Parton is gloriously chaotic fun.
A beautiful game: Improbable’s devised show mixes football and feminism, in a tribute to the power of teamwork.
Underground adventures: Factory Irregular’s devised immersive show doesn’t offer its audience a hand to hold.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Shakespeare’s stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.
‘It’s the kind of weird theatre show that I want to bring all of my non-theatre friends to see’: Lilith Wozniak reviews Richard Allen’s show as part of Mayfest 2018.
‘Bed-ridden with everything except a husband’: Amelia Forsbrook reviews the ROH’s ballet about the last Tudor on the throne.
‘The air of stifling, claustrophobic routine’: David Pollock reviews Martin McCormick’s absurdist play
Rosemary Waugh reviews the British Paraorchestra’s new work inspired by the theoretical physicist Richard Feynman, as part of Bristol’s Mayfest
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.
A celebration of the power of music to hold and communicate human history: Maddy Costa reviews a cabaret of songs banned by the Nazis.
A man’s world: Phil Ormrod’s four-handed drama explores father-son relationships and male violence.
Theatre as controlled demolition: Christopher Rüping’s dissection of Brecht is thrilling, smart and savage.
Maddy Costa writes on getting exercised about theatre criticism and ideas of treating the audience as consumer, spun through a review of Choral Cuisine at Bristol’s Mayfest.