Striking images: Crystal Bennes compares two works by Polish company Teatr Biuro Podrozy.
“What a difference a year makes”: Annegret Marten writes on Middle Child’s gig theatre show as it returns to Edinburgh.
A modernist odyssey: Hannah Greenstreet writes on La JohnJoseph’s lyrical solo show.
A genre-defying delight: Tom Moyser writes on a solo show that explores the lure of old cassettes.
Flight is a ‘perfectly programmed high-art theme park ride.’
What Girls Are Made Of looks back on a teenage brush with stardom with adult wisdom and a 90s soundtrack.
Simon Longman’s new play highlights the cyclical bleakness of village life.
Guilt and Complicity: Hailey Bachrach on how a play about American slavery translates for an Edinburgh audience.
Angry and childishly misogynistic: Stewart Laing’s new Strindberg adaptation doesn’t challenge itself enough.
Fear in the 21st century: Frances Poet’s Bruntwood-shortlisted play is astute and unsettling.
Lyrical, joyous and vital – Hannah Greenstreet on the National Theatre of Scotland’s two stories about trans experience.
A highly original, thoroughly rollicking ninety minutes: Lorna Irvine enjoys Jasmin Vardimon’s multi-faceted dance adaptation of this classic children’s story.
Underdeveloped and ultimately forgettable: Caryl Churchill’s dissection of the nature/nurture debate is staged as part of the Edinburgh Science Festival.
Boat building: Andrew Edwards reviews Tortoise in a Nutshell’s opening performance at Manipulate 2017.
“Horror and grief seep, slither, crawl and loom”: Christine Irvine reviews Tom Wright’s new stage version of Joan Lindsay’s cult novel.