Teenage love, old school. Juliet Hindell reviews.
An amuse bouche of a political documentary: Corrie Tan reviews the National Theatre’s response to Brexit.
The excuse is the faintness of memory: Tim Bano reviews Travesties (with diagrams, footnotes and poetry).
“Gently exposes its audience’s attitudes”: Andrew Edwards reviews an immersive performance examining the spaces where people with disabilities are both users and creators of pornography.
Strips the drama down to its essence: Fergus Morgan reviews Imelda Staunton and Conleth Hill in Edward Albee’s portrait of marital dysfunctionality.
The unsettling feeling of studying the alchemy of love: Gillian Greer reviews debbie tucker green’s new play at the Royal Court.
An act of splicing and dicing: Anna Winter reviews Wayne McGregor’s contemporary dance work based on the book by Jonathan Safran Foer.
Sensitive, witty and compassionate: Naia Headland-Vanni reviews Documental Theatre’s play about about young fatherhood.
Wallace Shawn’s latest dystopian vision looks us right in the eyes. Molly Grogan reviews.
Nicole Serratore reviews Sam Gold’s bold reimaging of the Tennessee Williams’ classic
Death. Illness. Identity: Catherine Love reviews the Sick! Festival in Manchester.
An absurdity rooted in real life: Brendan Macdonald reviews the staging of three works by B.S. Johnson.
A compelling political debate about the heart and soul of the British left: Fergus Morgan reviews the world premiere of Steve Waters’ new play about the Limehouse declaration.
An honest account of heritage and prejudice: Daniel Perks reviews Joe Sellman-Leava’s one-man show at Vault festival 2017.
In David Mamet’s new play, it’s a sad, sad, sad, sad world. Jordan G. Teicher reviews.