Airlock of the heart: Christine Irvine reviews a visually dazzling but psychologically unsatisfying adaptation of the sci-fi classic from David Greig and Matthew Lutton.
‘I’ve never known Sherlock to have a Geordie accent’: Lauren Vevers writes on an atmospheric, distinctly Northern, Conan Doyle adaptation.
Ain’t no party like a Regency ball: Lilith Wozniak reviews Blood of the Young’s irreverent, karaoke-fueled take on Austen.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.
The green-eyed monster: Neil Dowden reviews Nicholas Wright’s drama about the dangerous rivalry between actors Paul Robeson and José Ferrer.
Say cheese: Ben Kulvichit reviews Tuyen Do’s finely wrought domestic drama, the first Vietnamese-British play to be seen on a UK stage.
Why walk when you can flip?: Lilith Wozniak reviews Wise Children’s second production, a nostalgia-soaked adaptation of Enid Blyton’s beloved children’s books.
Are you sitting comfortably?: Lilith Wozniak reviews Vanessa Redgrave’s collection of personal and political histories from the lead-up to the Second World War.
A matter of life and death: Louise Jones writes on the emotional mechanics of Theatre Re’s lyrical piece of physical theatre.
Invisible cities, right before your eyes: Aniqah Choudhri reviews a multimedia dance-theatre extravaganza based on Italo Calvino’s novel.
‘I’m beautiful and I’m here’: Ben Kulvichit reviews Tinuke Craig’s soulful, stirring production of the musical adaptation of Alice Walker’s famous epistolary novel.
Fly me to the moon: Tracey Sinclair reviews Scott Turnbull’s offbeat, cheeky solo show about a lonely astronaut.
A tale of two plays: Tracey Sinclair writes about place, sport and culture in a new play about the much loved footballer and manager.
Maggie who?: James Varney writes on character, community and the ghost of Tennessee Williams in American choreographer Trajal Harrell’s new piece for MIF.
Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.