The trauma of Ireland’s troubles is played out between two siblings in David Ireland’s emotionally intense drama.
The parallels with the contemporary world are frighteningly obvious in the Donmar’s production of Bertolt Brecht’s political satire.
Lust, morphine and mental instability: Kenneth MacMillan’s infamously dark ballet is back, and so are the plummy Covent Garden crowds.
A family come together to make sense of their bullied son’s death in Jordan Tannahill’s drama.
A dissertation on storytelling: Six Degrees of Separation gets a fast paced revival starring Allison Janney.
Pain and pleasure: Louise Orwin’s solo performance is a powerful, uneasy look at the trouble with sex positivity.
“Mindlessness seems to have won the day” in a frenetic, supersized new Broadway musical of Charlie & the Chocolate Factory.
Demands to be heard: Gillian Greer, sustained only by artisanal fudge, sees nine plays in one day as part of Cardboard Citizens’ incomplete history of housing.
The past is a strange country: Gillian Greer admires the gentle craftsmanship of Barney Norris’ new two-hander, the inaugural production in the Bush’s new studio space.
Certainly not a dazzling discovery: a revival of a rarely staged tragedy by James Shirley.
Laura Linney and Cynthia Nixon give strong voices to the complex women in Lillian Hellman’s play The Little Foxes
Searching for meaning among the chaos: Eleanor Turney reviews Duncan Macmillan’s adaptation of Paul Auster’s book.
A portrait of an artist: Rosemary Waugh reviews Concert Theatre’s take on Anne Brontë’s novel.
Don’t mention the F-word: Geoff Mills reviews Alistair Beaton’s play about – whisper it – shale gas extraction.
Friends until the end of time: Rosemary Waugh reviews Alice Nicholas’s new play about transgender teenagers.