‘An epic display of female emotion’: Nabilah Said reviews a contemporary opera of Euripides’ tragedy, as part of LIFT 2018.
Reminder: you’re going to die. Rosemary Waugh reviews Dead Centre’s work about Shakespeare’s son
Words, words, words: Brian Friel’s masterful meditation on language is magnificently revived by Ian Rickson.
It’s not rape if… Hailey Bachrach writes on Nina Raine’s clever, troubling exploration of assault and the justice system.
‘Lacks any sense of jeu d’esprit’: Neil Dowden reviews Christopher Hampton’s relocation of Molière to Trump’s America.
‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Shakespeare’s stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.
‘Teetering on the edge’: Maria Iu reviews the Julie Cunningham Company’s version of Sarah Kane’s Crave
Storybook kings and queens: Rosemary Waugh reviews George Benjamin and Martin Crimp’s new opera, directed by Katie Mitchell
A murky moral world: Kali Theatre’s new writing festival boasts a well-researched work-in-progress from Rukhsana Ahmad.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
War and peace: Rosemary Waugh reviews the Maly Theatre of St Petersburg performing Vasily Grossman’s epic work
Creative control: Joe Penhall’s new play is a look at the hard, cynical, sexist world of the music industry.
Bridget Minamore writes on Natasha Gordon’s debut play, an emotive, truthful exploration of black grief.