Anxieties of authorship: Brendan Macdonald writes on Kate Reid’s play, which explores representations of Northern Ireland through ‘an engaging and poignant drama’.
‘A heady, carousing festive fantasy’: Brendan Macdonald reviews Taylor Mac’s virtual vaudeville.
“Odd and unflinching”: Brendan MacDonald reviews Pablo Manzi’s deft study of violence, loneliness, banality, and community.
Blunt theatricality: Brendan Macdonald reviews Ralph Fiennes’ performance of a modern classic.
Unspoken thoughts: Brendan Macdonald writes on a sonically rich adaptation of Rebecca Watson’s stream of consciousness novel.
How to write a review: Brendan Macdonald drafts some instructions for writing about Split Britches’ latest performance.
Something fishy going on: Brendan Macdonald writes on Marek Horn’s ‘delightful’ ecological satire exploring the human desire to know.
Superb and surprising: Brendan Macdonald falls under the spell of Yaël Farber’s take on Macbeth.
Acts of tireless creation: Brendan Macdonald reviews Caryl Churchill’s latest exercise in exacting miniature.
Rich tapestry: Brendan Macdonald writes on this ‘joyful and critical examination of the Kiln’s local community and its diverse history’.
Desperate remedies: Brendan Macdonald writes on Alice Hamilton’s revival of Shelagh Stephenson’s comedy-drama that explores memory and family.
‘Bafflingly profound’: Brendan Macdonald writes on Sam Yates’ haunting revival of Tennessee Williams’ metatheatrical play.
The enemy within: Brendan Macdonald reviews Ayad Akhtar’s immaculately well-crafted thriller about capitalism.
The time is out of joint: Brendan Macdonald writes on Kimberley Sykes’s streamlined production, which captures the ‘frustrated, steely impatience of young love’.
Touching the void: Brendan Macdonald writes on Dante or Die’s interactive exploration of touch, which is a reminder of theatre’s ‘ability to provoke deep, intimate connections between audience and performer’.