How does your body respond to music? And how does society respond to that? Emma Martin has a few answers
Theatreclub’s latest show is fearless, horrific and urgent, and presents a disturbing documentary collage of life in the prostitution industry
Belfast’s Peace Walls, like shibboleths, are designed to keep people separated. But Stacey Gregg’s restless new play constructs them as an inhibiting prison
This isn’t the most serious meditation on gender equality, but it’s definitely one of the most charming
The acclaimed drama of a gifted but different teen’s family investigations yields startling theatrical fireworks
Theatre Lovett’s sinister new version of the fairy tale leads the original very far from home. Has it also lost its trail?
An innovative Belgian production of The Cherry Orchard prioritises performance over text to absorbing effect
What happens when you send an amateur theatrical collective into space for several hundred thousand years? Not a lot, apparently
The riddle in Wayne Jordan’s limpid new version of the Greek tragedy is how anyone stays blind to the truth
The music might be a bit too hip for the hive of children, but their parents might appreciate it
Less a depiction of a break up than a scene of mutually assured destruction, why does Pascal Rambert’s play feel so bloodless?
Recent history and ancient myth conspire to give a blow-by-blow account of the humbling of a nation
Through chance operations and onstage manipulation, Dick Walsh’s new play for Pan Pan makes random sense of the world
Colin Murphy does a terrific job in using documentary material to maximum dramatic effect
Bush Moukarzel and Ben Kidd slowly strip away the trappings of form and character from Chekhov’s first work, and take a wrecking ball of theatrical convention
Mark Palmer and Thisispopbaby create a rock and roll journey through Matthew’s passion
Manchester’s adventurous company Quarantine uses dance as a portal to the imagination
How hard can learning one bit of a sonnet be? And shouldn’t watching it make for terrible theatre? Well pull up a chair so
Abandoned by their creator and alone in a random world, the characters in Conor McPherson’s new play have more questions than answers
DBC Pierre’s novel excoriates contemporary America, and this production doesn’t quite keep the anger on the boil
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