Watch ten minutes of the National Theatre's Barber Shop Chronicles in 360-degrees
Matt Trueman: 'It's time to head off exploring again'
Review: The Woods (Royal Court)
And Introducing… YESYESNONO: the one-man company taking care of audiences
Review: Baby Face (Summerhall, Edinburgh Fringe)
Review: Killymuck (Underbelly Bristo Square, Edinburgh Fringe)
Review: Hunch (Assembly Roxy, Edinburgh Fringe)
And introducing… LUNG: the verbatim theatre company telling the stories that have been drowned out
Review: Bury the Hatchet (Hope Theatre)
Review: Exit the King (National Theatre)
Did critics Pity Rory Mullarkey's new play?
Why are we so obsessed with the history play?
Letting the outside world into a theatre can add to the drama
And Introducing…Max Webster: the director who takes on everything from Seuss to Shakespeare
Too often, verbatim theatre forgets to be theatre
International artists can be the making of British theatre
And introducing…Thalissa Teixeira: fearless performer who trusts the audience to tune in
Review: Translations (National Theatre)
Natalie Simpson wins 2017 Ian Charleson Award
Lyn Gardner's departure is a shame, but it isn't the death knell for criticism
RashDash's #TimesUp Three Sisters pushes male plays off their pedestal
And introducing… Rosie Elnile: Black boxes be damned, here's a designer embracing excess
Review: Relentless Unstoppable Human Machine (Roundhouse)
Allow children to make theatre and who knows what the future might bring