Same old story: Nina Raine’s play ends up reaffirming a depressingly familiar set of stereotypes about childless women.
Punching up: Joy Wilkinson’s play is an exhilarating trip into an imagined world of Victorian women’s boxing.
As Matthew Lopez’s gay epic transfers from the Young Vic to the West End, Frey Kwa Kawking writes on its sprawling, compassionate glory.
Uncanny valley: David Hare’s satire of Labour politics might be set in the present day, but it belongs in another era.
‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies
Shakespeare as party: Lauren Mooney writes on a fantastically warm, welcoming opener to Kwame Kwei-Armah’s reign at the Young Vic.
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance
The waves are rolling in or moving out: Rosemary Waugh reviews Katie Mitchell and Alice Birch’s latest collaboration.
Signs of the times: Annegret Märten and Emilie Oléron Evans give a tutorial on Matthew Parker’s production of Ionesco’s absurdist play
‘Gold, sinew and chicken fat’: Nabilah Said reviews Annie Siddons’ epic tribute to SE20 and its residents
Frey Kwa Hawking reviews Forward Arena’s transporting adaptation of Virginia Woolf’s ‘slim, dense, irrepressible novel’
Desire is everything: Adena Jacobs’ staging of Strauss’s opera is full of ponytail-slick, sensuous, striking images.
Invisible women: Josephine Balfour-Oatts reviews Annie-B Parson’s feminist dance response to Samuel Pepys’ Diary
Marriage and infidelity: Ed Nightingale reviews Jamie Lloyd’s productions of The Lover and The Collection.
The common soldiers, the everyday heroes: Ava Davies reviews Alice Oswald’s elegy to the dead of the Iliad.