Raw and new and believable: Rafaella Marcus and David Ralf team up to produce a long-form review of Ivo van Hove’s six-hour Roman Tragedies.
All about Richard: Brendan Macdonald reviews Thomas Ostermeier’s “confrontational, direct, and raw” version of Richard III
Viewed through glass: Brendan McDonald reviews Complicite and Schaubühne Berlin’s staging of Stefan Zweig’s novel.
Set by set, scene by scene, love by love: Ka Bradley reviews Charleroi Danses’s “transporting and joyously original work.”
An elegant riot against control: Amelia Forsbrook reviews Boy Blue Entertainment at the Barbican.
Making something out of nothing: Brendan Macdonald reviews Gregory Doran’s production of King Lear for the RSC.
In a post-Brexit world, we will all wear patchwork denim: Sally Hales reviews the RSC’s Cymbeline at the Barbican.
Comedy gold: Neil Dowden reviews the Polly Findlay’s production of The Alchemist.
Mid-life crisis: Maddy Costa reviews the RSC’s Doctor Faustus at the Barbican.
Drows’d with the fume of poppies: Tim Bano reviews Robert LePage’s interweaving narratives of Miles Davis and Jean Cocteau.
“The land was never any man’s to sell”: David Ralf reviews Malthouse Theatre’s adaptation of King Lear.
“Challengingly “international”, but perhaps not in quite the way LIFT hopes.” Andrew Haydon reviews Krzysztof Warlikowski’s revisiting of Phaedra.
it is a cry fully a century long colon a review by Maddy Costa comma at the Barbican stop
Updating the Shakespearian operating system: Tim Bano reviews Ivo van Hove’s reprogramming of Shakespeare.
“There is a violence at the heart of this opera,” Maddy Costa reviews The Importance of Being Earnest, directed by Ramin Gray.