The Room meets Grange Hill: Iain Hollingshead and Timothy Muller’s new high-school musical gets an F- from Francesca Peschier.
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
Your name is Ruby… William Drew goes on a binaural dinner date.
“As this is a piece of immersive theatre, it doesn’t work unless you follow the rules”: Amelia Forsbrook reviews Les Enfants Terrible’s staging of the story of Pussy Riot.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Put down your iPhones: Rosemary Waugh on Ivo van Hove’s multi-channel story of a news anchorman driven to breaking point.
Hannah Greenstreet on the “unforced relevance” of an immersive reimagining of Elizabeth Inchbald’s 1792 play.
Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.
Gallows humour: Lee Anderson reviews Chris Thorpe & Jon Spooner’s show about shuffling off the mortal coil.
Dripping with blood and sweat: Neil Dowden reviews the opening production of the RSC’s Rome Season at the Barbican.
Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.
Images of trauma: Corrie Tan on a didactic revival of Brecht’s classic, starring comedian Josie Lawrence.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.