Playing with fire: Osborne’s classic play takes on new meaning in light of #MeToo.
Then and now: Ann Deavere Smith’s verbatim piece uses the past to interrogate the present.
Dancing feet: Nancy Harris’ Hans Christian Andersen adaptation brims with “barely suppressed sorrow and heartbreak”.
“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
Cowardly nostalgia: Chris McCormack lingers in the halcyon bliss of Noël Coward’s 1930 comedy.
It should be gripping. But it’s not: Fergus Morgan reviews I Call My Brothers at the Gate Theatre.
Nationalistic narratives: Brendan Macdonald reviews Al Smith’s modern version of Gogol.
“An evening of echoes and ripples” Rafaella Marcus reviews Gate Theatre’s exploration of the House of Atreus.
“Part Mumsnet cry-for-help, part frontline dispatch.” Dave Fargnoli reviews Nina Segal’s new play.
Catherine Love on Jo Clifford’s Jesus, Queen of Heaven, Lucas Hnath’s The Christians and the politics of belief.
In an image-led world.
The lasting wounds of war.
Stories about stories and “flailing hopefulness”: Catherine Love’s theatrical highlights of 2014.
What makes a person a person?