Neil Bartlett brings to life “infuriating bureaucratic non-speak” in his adaptation of Albert Camus’s La Peste.
The juvenile nature of war: Corrie Tan reviews Yellow Earth Theatre’s production of Tamburlaine.
The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
Proof that political satire can still have teeth: Sally Hales reviews the world premiere of Oladipo Agboluaje’s New Nigerians.
Storytelling about storytelling: Brendan Macdonald reviews “a real highlight of this year’s theatre”.
“It felt like taking a punch in the gut, then learning how to heal.”: Corrie Tan reviews Belarus Free Theatre’s new work about schizophrenia.
The desperate isolation of depression: Annabel Mellor reviews the second run of Kenny Morgan at the Arcola.
A more palatable romcom: Sally Hales reviews Samantha Ellis’s take on the classic girl-meets-boy genre.
Falling to earth: Daniel Perks reviews a flailing Maria de Buenos Aires as part of Grimeborn 2016.
UniLad meets CBeebies: Amelia Forsbrook reviews a “flaccid and synthetically-aged operetta”.
Amorous little butterflies: Daniel Perks reviews an excellent Grimeborn version of Mozart’s classic.
Poison and distorted music stands: Daniel Perks reviews Mozart and Salieri at Grimeborn.
“Oppression lies at the heart”: Verity Healey reviews May Sumbwanyambe‘s debut play.
“What sort of love is this love that we have for countries?” Brendan Macdonald reviews Kali Theatre’s latest production.
You need to take responsibility for your actions: Brendan Macdonald reviews Keith Huff’s new work.