Patrick Godfrey in 'Here We Go'. Photo: Keith Pattison
©Keith Pattison

Here We Go, National Theatre (Lyttelton), London — ‘Haunting, unsettling’

Caryl Churchill’s new drama is a disturbing meditation on death

Michaël Pomero in 'Die Weise von Liebe und Tod des Cornets Christoph Rilke'. Photo: Anne Van Aerschot
©Anne Van Aerschot

Die Weise von Liebe und Tod des Cornets Christoph Rilke, T2G, Gennevilliers, France — ‘Disconnected’

Anne Teresa De Keersmaeker’s new work is a frustrating experience

Jolyon Coy and Lydia Leonard in ‘Little Eyolf'. Photo: Hugo Glendinning
©Hugo Glendinning

Little Eyolf, Almeida Theatre, London— ‘Harrowing but disjointed’

Richard Eyre’s production of Ibsen’s drama is hit and miss

Nathan Young, Carys Staton and Adam Kirkham in 'Broken Fall'. Photo: Hugo Glendinning
©Hugo Glendinning

Russell Maliphant Company, Sadler’s Wells, London — ‘Intermittently tasty’

A quadruple bill of Maliphant works was was somewhat indigestible

Théo Touvet (in wheel) in ‘Les Glaciers grondants’
©Pascal Victor

Staging climate change

A theatre festival is set to coincide with the COP21 conference — but does science make good drama?

James Garnon as Pericles and Jessica Baglow as Marina
©Marc Brenner

Pericles, Sam Wanamaker Playhouse, London

Outgoing Shakespeare’s Globe artistic director Dominic Dromgoole stages a revival

Gary Kemp as Teddy in ‘The Homecoming’
©Marc Brenner

The Homecoming, Trafalgar Studios, London

Staged with deliberately macho swagger, the family drama emerges as a study of territorial powerplay in an all-male household

Alan Cox and Oscar Pearce in 'The Divided Laing'. Photo: Adam Bennett
©Adam Bennett

The Divided Laing, Arcola Theatre, London — ‘Lacking credibility’

An unconvincing drama about radical psychiatrist R.D. Laing

From left, Naomi Wirthner, Anna Calder-Marshall and Josh Hamilton. Photo: Catherine Ashmore
©Catherine Ashmore

Evening at the Talk House, National Theatre (Dorfman), London — ‘Casually grotesque’

Wallace Shawn’s new play takes aim at 21st-century amorality

Ben Jones in 'Ben Hur'. Photo: Mark Douet
©Mark Douet

Ben Hur, Tricycle Theatre, London — ‘Innocently daft’

A likeable comedy featuring all manner of theatrical nonsense

The Body, Barbican (Pit), London — ‘Eccentric and eerie’

This strange, unsettling piece explores what it means to be alive

Important Hats of the Twentieth Century, Manhattan Theatre Club, New York — ‘Witty, inventive’

A curious drama powered by a metal time-travel hat

Farewell My Concubine, Sadler’s Wells, London — ‘Eye-popping’

China National Peking Opera Company’s production is dazzling

Peking Opera in London: ‘Wild complexities of style’

Acrobatics, astounding costumes and a great-grandmother-led army of women

The Two Pigeons, Royal Opera House, London

A perfect work of balletic art with a melodious score

Investing in theatre

Putting your own money into new productions can be a rewarding venture, but what are the risks?

Twyla Tharp 50th anniversary, Lincoln Center, New York — ‘Glimpses of what might have been’

Two works illustrate the choreographer’s compulsion for shtick

Steve, Signature Center, New York — ‘Entertaining’

An amusing story of two gay male couples and their lesbian friend

A Letter to My Nephew, MAC-Maison des Arts, Créteil, France — ‘Stunningly musical’

Bill T. Jones’s creation is a meditation on the life of his nephew

Royal New Zealand Ballet, Linbury Studio Theatre, London — ‘Deeply felt, strongly danced’

The programme celebrated New Zealand’s history and culture

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