When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.
Christina Masciotti examines the hurdles facing the current generation of war veterans. Loren Noveck reviews.
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.
A well-rounded, uplifting story: Holly O’Mahony warms to Scratchwork Theatre’s Nel at the New Diorama’s Incoming Festival.
Molly Grogan reviews Sinking Ship Productions’ adaptation of the Kafka short story.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.
Our lady in York (Louise Jones) reviews Our Man in Havana – in text messages.
A vivid and colourful soundscape: Brendan Macdonald reviews the latest production from Silent Opera.
A warning against consumerism: Naia Headland-Vanni reviews 1927’s Golem, on tour in Bristol.
A frightening picture, but not one it feels we’re on the verge of entering: Simon Gwynn reviews Theatre Ad Infinitum’s Light on its return to Battersea Arts Centre.
“What on earth am I watching here?”: Aniqah Choudhri has her preconceptions blown away by a modernised Jane Austen adaptation.
Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.
Desperation and fragility: Daniel Perks on a revival of the 1973 play about life on Apartheid-era Robben Island.