Ice-cold teen psychopaths: Alice Saville writes on the ’80s teen movie’s uneasy transition to the stage.
Middle class problems: Francesca Peschier writes on Alexis Zegerman’s exploration of rules, religion, and cultural legacy.
Frey Kwa Hawking reviews a play that ‘doesn’t make conventional sense, but a kind of sense you feel intuitively.’
‘Smart comedy’: Chris McCormack reviews a play about the historic treatment of metal health conditions.
A group hug? Tracey Sinclair reviews a devised work by new North East company Circ Motif.
Nerve-shredding: Chris McCormack reviews a solo performance by Olwen Fouéré, as part of the Dublin Fringe.
Painful fluency: Josephine Balfour-Oatts reviews Milly Thomas’s play about the aftermath of suicide.
A dress rehearsal for an ideal world: Nabilah Said reviews a musical about three generations of the same family.
From “Shock” to “Acceptance”: Chris McCormack reviews a Dublin Fringe show about the end of everything.
Lilith Wozniak reviews a new show about raising children, Russian folklore and how the theatre industry supports mothers.
Stories are forbidden, but artistry has flourished elsewhere: Chris McCormack reviews a ‘wonderful’ children’s show at the Dublin Fringe.
The awkwardness of family dinners: Ava Davies reviews Stephen Karam’s Thanksgiving play.
More to life than love: Peter Kirwan reviews the Nottingham Playhouse’s first musical in over a decade.
Blood, sweat and more blood: Rosemary Waugh reviews the UK premiere of Clare Barron’s play about 13-year-old competitive dancers.
You have nothing to fear: Rosemary Waugh reviews Scottish Dance Theatre with a work inspired by Robert Mapplethorpe.