A gothic vaudevillian circus: Francesca Peschier reviews Sally Cookson’s version of Fellini’s masterpiece.
Properly unsettling: Tracey Sinclair reviews Ester Natzijl’s disconcerting work at the Brighton Fringe.
It’s a wrap: Rosemary Waugh reviews one of the last ever performances of Ontroerend Goed’s superb Sirens.
Full of complexity and nuance: Bridget Minamore is moved by Mandeep Raiky’s two-person dance piece exploring the criminalisation of homosexuality in India.
Gabe Cohn reviews the NYC premiere of Jon Brittain’s Olivier winner.
A careful balance of farcical comedy and shocking drama: Peter Kirwan reviews Suba Das’ Northern Stage revival of Ayub Khan Din’s much-loved play.
Claire Takami Siljedahl reviews Francesca Beard’s new show about truth and deception at Cambridge’s Watch Out Festival.
Oil starts to drip from the ceiling… Geoff Mills writes a short play in response to the Mischief Festival double bill.
A small gem: Tracey Sinclair reviews Jack Rooke’s debut solo show at the Brighton Fringe.
A new, funny, cross intimacy: Lily James reviews Lucy and Addrian Hutson’s father-and-daughter performance at Cambridge’s Watch Out Festival
Enormous, terrifying power: Lily James writes on taking part in Jamal Harewood’s follow up to The Privileged, a collaborative show about the impact of words.
“Appealing pyromaniac tendencies” – Natasha Tripney reviews Gorčin Stojanović’s production of Don Juan.
Giving the unbelievable a fair hearing: Chris McCormack reviews Philip Conaughton’s new dance-opera about UFO sightings.
So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.
Wall to wall pressure: Rosemary Waugh reviews Jack Thorne’s new version of Woyzeck.