Wild and beautiful: Frey Kwa Hawking writes on Sally Cookson’s moving adaptation of a story of grief.
“It was nice while it lasted”: Max Webster’s uncomplicated production is rudely interrupted by a certain Mr Donald Trump.
‘Blunt, sparse, and deeply seductive’: Freddie Machin reviews an evening of the music suppressed by the Nazis.
A fictitious, dreamlike vision of Ireland: Michael Grandage’s Martin McDonagh revival loses its way amid all the blood.
Immersive doesn’t begin to cover it: the West End transfer of Good Chance’s refugee drama is electrifying in its intimacy and honesty.
Francesca Peschier writes on the swooshing skirts and sumptuous spectacle of this “commendably self-aware” revival of the Rodgers and Hammerstein classic.
‘Theatre as a kind of utopia’: Duška Radosavljević reviews Taylor Mac as part of LIFT 2018.
“Be a lady”: Maddy Costa reviews the Wooster Group’s staging of when Normal Mailer met with 1970s feminists.
Edges, borders, barbed wire: Cordelia Lynn’s bomb attack drama explores the ethics of keeping safe.
Power zaps like an electric current… Maddy Costa reviews Back to Back Theatre, as part of LIFT 2018.
‘The broken among us teach us to be human’: Duška Radosavljević reviews Anna Deavere Smith’s verbatim show as part of LIFT 2018.
Defiance is at the heart of its genius: J.N. Benjamin reviews the National Theatre transfer of Branden Jacobs-Jenkins’s play.
‘We’re all Beverlys here’: Ka Bradley reviews Rhiannon Faith’s dance-based work about domestic abuse.
Kristina’s play: Rosemary Waugh reviews Polly Stenham’s adaptation of August Strindberg
Residue as runes: Maddy Costa reviews Gob Squad, as part of LIFT 2018.