Escaping definition: Amelia Forsbrook reviews Origami, Fallen from Heaven, and Trois Grandes Fugues as part of Dance Umbrella 2017.
Simeon loves Marcia loves Konstantin loves Nina loves Boris loves Irina loves herself: Annegret Marten reviews Simon Stephens’ new version of Chekhov.
Good state-of-the-nation stuff: Fergus Morgan reviews Mike Bartlett’s new play at the Almeida.
Plenty to unpick: Anna Winter reviews Shobana Jeyasingh’s take on Marius Petipa’s La Bayadere.
There’s more to life than life on earth: Francesca Peschier reviews Andrew Thompson’s new play about space travel and families.
The duality of space, or how not to catch a Lapras: Ka Bradley reviews Charlotte Spencer Projects’ immersive piece on a disused site near London City Airport.
The miracle of unburdening yourself: Hailey Bachrach reviews Angela Clerkin’s “gothic fairytale”.
“Like stumbling, joyously stoned, through Camden Market”: Francesca Peschier takes a trip into The Vaults to review Johnathan O’Boyle’s fully immersive revival of Hair.
Sex in a mouse onesie: Francesca Peschier reviews a new comedy by David Ireland.
If you just really, really want to run around pretending you’re a vampire, this is for you: Ka Bradley reviews immersive theatre by Hammer House of Horror.
Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome.
The hands and their gaze: Rohanne Udall a performance of three works by Hema Bharathi Palani, Ronita Mookerji and Emma Jayne Park.
Accessible but not patronising: Francesca Peschier reviews Chino Odimba’s adaptation of Oliver Twist for teenagers.
“A unique piece of theatre”: B. L. Sherrington warms to Les Enfants Terribles’ grisly, quirky award-winning show about unruly children, a decade after its premiere.
“A piece of eloquent controversy”: Daniel Perks analyses the London transfer of What Shadows, Chris Hannan’s kaleidoscopic interrogation of Enoch Powell.