Based on a true story, The Little Pony examines how two parents react to their child who clings to his pink backpack as the bullying, physical and psychological, piles up.
The Daughter-in-Law bristles with working class reality buoyed by dialect and accent rooted in the Nottinghamshire pits - but the characters never emerge from that backdrop and the play leaves one with an unsatisfying sense of disbelief.
Paterson Joseph's homage to a forgotten person, indeed, a forgotten people, has its moments but ultimately falls short of the drama required for it to really fly.
The Rink revives a show received with lacklustre reviews and box office in the 80s and, through two brilliant central performances and a showstopper setpiece, make it a hit.
A curiously intrusive structure gets in the way of the extraordinary, one-off comic genius that was Spike Milligan in an affectionate tribute from Chris Larner and Jeremy Stockwell.
Great to see a comedy set amongst the dodgy types who frequent a 70s Brighton brilliantly conjured by set and costumes, but an overly episodic structure and predictable conclusion lets down what could be a super show.
Guillem Clua's new play is a serious examination of how love finds expression differently, beautifully translated and acted with great sensitivity - a thought-provoking and ultimately uplifting production.
Moormaid takes on a contemporary issue - the return to Europe of young men who fought in Syria - but fails to build characters in whom we can believe despite some fine acting.
The Golden F**king Years is a beautifully observed and acted farce that finds plenty of comedy in the tedium of ageing and the sudden opportunity of a bit of excitement - and the consequences that inevitably follow.
A play and accompanying exhibition about a renowned Indian singer, the eponymous Gauhar Jaan, and 'an incident' that gained infamy across India in the early 20th century.