Katie Mitchell at the Jerwood Space in London last month
©Anna Huix

Katie Mitchell on ‘2071’ at the Royal Court

The director talks about bringing climate science to the stage, German radicalism and the joys of genre-hopping

Scene from 'The Real Thing'
©Joan Marcus

‘The Real Thing’, American Airlines Theatre, New York – review

The production stars Ewan McGregor and Maggie Gyllenhaal, each making a credible Broadway debut

The Slow Lane: Common censorship

Three recent decisions have brought this issue into focus – and all three are lamentable and incoherent

Duosi Zhu and Fabien Voranger
©Costin Radu

William Forsythe programme, Théâtre de la Ville, Paris – review

Dresden’s Semperoper Ballett impressed on its Paris debut

Le Patin Libre

Le Patin Libre, Alexandra Palace, London – review

Thin pickings from the Montreal ice-skating troupe

Fiona Button and Michael Gould in ''Tis Pity She's a Whore'
©Alastair Muir

’Tis Pity She’s a Whore, Sam Wanamaker Playhouse, London – review

John Ford’s disturbing tragedy thrives under candlelight

John Dagleish and George Maguire in 'Sunny Afternoon'
©Kevin Cummins

Sunny Afternoon, Harold Pinter Theatre, London – review

An irresistible jukebox musical telling the story of The Kinks


Jump, Peacock Theatre, London – review

The Korean martial arts show returns to London

THE WILD DUCK by Simon Stone & Chris Ryan after Ibsen set design: Ralph Myers costumes: Tess Schofield lighting: Niklas Pajanti director: Simon Stone <br> Richard Piper (Ekdal), Deirdre (The Duck) Belvoir, Sydney Australia / Barbican Theatre, Barbican Centre, London EC2 24/10/2014 ©Donald Cooper/Photostage donald@photostage.co.uk ref/0014

The Wild Duck, Barbican, London

Belvoir’s Australian update of Ibsen is devastatingly effective

Marcelo Gomes in 'Fancy Free'
©Gene Schiavone

Fancy Free, American Ballet Theatre, New York – review

The source ballet for ‘On the Town’ is electric and affecting

The Last Ship, Neil Simon Theatre, New York – review

The Sting musical opens on Broadway with a heavy cargo of plots

Les Forains/Les Mirages, Théâtre du Capitole, Toulouse – review

An attractive double bill celebrates France’s rich ballet heritage

‘Memphis’, Shaftesbury Theatre, London

Soul queen Beverley Knight has first billing as Felicia, but the narrative focus is on Huey Calhoun

Royal Ballet Ashton programme, Royal Opera House, London

No one could fault the lightness and speed of Natalia Osipova’s dancing

Liam Scarlett premiere, American Ballet Theatre, Lincoln Center, New York – review

The cast struggled valiantly with Scarlett’s plotless piece

Neville’s Island, Duke of York’s Theatre, London

A teambuilding trip palls in this stage comedy

Tao Dance Theatre, Sadler’s Wells, London – review

Tao’s monochrome minimalism was well received

The Scottsboro Boys, Garrick Theatre, London

A powerful tale of racism – delivered via a minstrel show

Ashton mixed programme, Royal Opera House, London – review

Ashton lived again in this home-grown performance

Our Town, Almeida Theatre, London – review

Thornton Wilder’s 1938 play needs no props or sets to connect