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Sigrid Rausing
The Tetra Pak heiress is baffled by how hard it is for UK businesses to ‘let people go’
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Architecting, Barbican (Pit), London
Much of this New York theatre company’s evaluation of the way America has fashioned itself is fascinating, but not all of it is necessary, writes Sarah Hemming
Agon/Sphinx/Limen, Royal Opera House, London
‘Agon’, the single most significant ballet of the 20th century, was handsomely danced and a reproach to what ensued writes Clement Crisp
Seize the Day, Tricycle Theatre, London
Playwright Kwame Kwei-Armah’s chronicle of an imaginary black candidate’s campaign for the London mayoralty is all ‘tell’ and no ‘show’, writes Ian Shuttleworth
Armitage Gone! Dance, Brooklyn Academy of Music
Apollinaire Scherr sees a distasteful exercise in cultural appropriation rescued only by an excellent band
Rambert Dance, Sadler’s Wells, London
Mark Baldwin is inventive in shaping dance, but the sum effect here is less than that of its parts, writes Clement Crisp
A Streetcar Named Desire, Eisenhower Theatre, Washington
Cate Blanchett’s performance as Blanche is sustained, affecting and unhinged, writes Brendan Lemon
The Han Tang Yuefu Music and Dance Ensemble
Apollinaire Scherr sees a dreamily slow, meticulously constructed dramatisation of a treasured scroll depicting a night of debauchery
Finian’s Rainbow, St James Theatre, New York
This show’s combination of combination of whimsy, romance and satire is like nothing Hollywood has ever devised, writes Brendan Lemon
Mrs Klein, Almeida Theatre, London
This play is clever, amusing and poignant, sometimes all at once, writes Ian Shuttleworth
The Rise and Fall of Little Voice, Vaudeville Theatre, London
Diana Vickers may have star quality but it isn’t quite right for this role, writes Ian Shuttleworth
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