“Deeply meaningful theatre”: Paterson Joseph’s one-man play about the first black man to vote in Britain is rich and resonant.
A need for connection: Berri George’s new play centres on two graffiti-obsessed, thrill-seeking teenagers.
‘Comforting and clinical textures’: Josephine Balfour-Oatts reviews Anthony Neilson’s production of two plays by Lars Norén.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.
Emotional Labour: Sally Hales reviews Emily Schwend’s play about an overstretched Texan mother.
Playing for England: Sabrina Mahfouz and Hollie McNish’s story of women and the beautiful game is touring football clubs and theatres nationwide.
Breadth and depth: Madani Younis’ revival of Winsome Pinnock’s 1987 classic is richly detailed.
‘The tried-and-true dynamic of steely mother and slightly hapless son’: Hailey Bachrach reviews a revival of D H Lawrence’s play set during the 1912 miners strike.
Taylor Swift and suburban marriages: Frey Kwa Hawking reviews the UK premiere of Mary Laws’ play about a family breakfast gone wrong.
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.
Charming, inventive and beautiful: Lauren Mooney reviews the return of a WWI-set Peter Pan to the Open Air Theatre.
Inappropriate texts: Frey Kwa Hawking on a disconcerting play about the impact of rape accusations.
Underground adventures: Factory Irregular’s devised immersive show doesn’t offer its audience a hand to hold.
‘Bed-ridden with everything except a husband’: Amelia Forsbrook reviews the ROH’s ballet about the last Tudor on the throne.
A celebration of the power of music to hold and communicate human history: Maddy Costa reviews a cabaret of songs banned by the Nazis.