Have you tried…? Rosemary Waugh reviews Rachel Bagshaw and Chris Thorpe’s show about living with chronic pain.
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
A crash, or a stubbornness: Rosemary Waugh reviews Zinnie Harris’s new version of Eugène Ionesco’s Rhinoceros at the EIF.
Monica Dolan’s one woman show is a deliberately un-sensationalised exploration of how children are sexualised.
Dissonance and vocal fry – Hannah Greenstreet on a performance that explores gendered speech.
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.
A long and arduous country ramble: Chris White reviews Jessica Barker-Wren’s rural tragicomedy.
Space for freethinking: Chris McCormack reviews the Abbey Theatre’s adaptation of a Ken Loach film.
Dreaming of a new destination: Chris McCormack reviews a double bill of two short plays by Tennessee Williams.
Francesca Peschier discovers polyamory and queer domesticity in a current-feeling revival of Kevin Elyot’s 1982 play.
Strindbergian in intensity: Chris McCormack reviews Donnacha Dennehy and Enda Walsh’s new opera.
Lively, non-stop and irreverent: Louise Jones reviews the HandleBards high energy take on As You Like It.
Drink and dullness: Corrie Tan reviews John Tiffany’s revival of Jim Cartwright’s Road.
Stuff – just – happens: Miriam Gillinson reviews Conor McPherson’s new play based around Bob Dylan songs.
Rattles along like high heels on a city sidewalk: Tracey Sinclair reviews Tori Scott performing in Brighton.