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Review: Opera Kipling bring a swinging sixties Barber of Seville to Camden Fringe, strongly sung and a real treat up close.
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Review: Guildford Shakespeare Company and the Orange Tree stitch Love’s Labour’s Lost to Much Ado About Nothing in a joyful open-air double bill.
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Review: Republic of Silence movingly brings the story of Ireland’s mother and baby homes to life across two timelines
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Review: Florian Zeller’s Olivier-nominated comedy about lies and deception delights with impeccable comic timing at the Apollo Theatre.
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Review: Sarah Kane’s brutal Cleansed returns to the Almeida in a demanding, unflinching production directed by Rebecca Frecknal, not for the faint-hearted.
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Camden Fringe Review: This App is a haunted house, a horror-comedy about dating apps and slasher tropes, funny but not quite holding together as a whole show.
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Camden Fringe Review: Bathroom, a Mandarin-language two-hander on love, migration and racism, and feelings that only come out in the shower
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Review: Matthew Bourne’s sizzling ballet noir, The Car Man, turns Bizet’s Carmen into a dark, sensual, and unforgettable stage thriller.
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Review: Dark of the Moon at Charing Cross Theatre, a UK premiere blending bluegrass and rock with mixed results
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Camden Fringe Review: Queer time-travelling pirates, real history and climate grief collide in Asian Pirate Musical, an ambitious musical seven years in the making.
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Review: The Importance of Being Oscar is a solo biographical play at Park Theatre exploring Oscar Wilde’s trial, imprisonment and legacy.
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Camden Fringe review: 1918: The Final Salomé at Etcetera Theatre tackles Oscar Wilde’s legacy and the Maud Allan libel trial.
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Review: RSC’s Cyrano de Bergerac transfers to the Noël Coward Theatre: Adrian Lester and Susannah Fielding star in this fresh, vulnerable West End revival.
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Review: A groomed teenager, an overstretched social worker and a system that only hears victims who behave. Firebird returns to Southwark Playhouse, still urgent.
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Review: Simon Stone reimagines Aeschylus’s Oresteia as a modern arms-dealer family drama at the Bridge Theatre, starring Mary-Louise Parker and David Morrissey.
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Review: Pride at the National Theatre’s Dorfman. Warchus and Beresford bring LGSM’s 1984 story to the stage at the National: joyful, moving, occasionally overstuffed with plotlines.
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Good For Her! at The Other Palace ★★★ Mollie Semple’s solo show puts the version of ourselves we usually hide on stage, and dares us to admit we’d recognise her. Uncomfortable, sharp in places, though the ending didn’t quite land for me.
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Review: Bryan Batt stars as J. Edgar Hoover in a comedy musical exploring power, blackmail and hidden love at King’s Head.
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