A widescreen battle of the sexes: Ed Nightingale reviews Michelle Barnette’s new play about modern relationships
Seething resentment: Bruce Graham’s play applies the heat to an exploration of prejudice and hypocrisy in Philadelphia.
Blood cells and viruses: Arinzé Kene’s solo show is a complex exploration of gentrification and representation.
Love and hate: Stephanie Silver’s play explores the impact of the 7/7 bombings on a group of teenage Londoners.
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
No museum piece: Sean Holmes’ self-aware modern-day Sean O’Casey revival doesn’t feel revolutionary.
You lucky, lucky people: Michael Longhurst’s Chichester production makes a triumphant London transfer.
Jodi Gray’s wolfish one-woman play is an exploration of ‘monstrous’ femininity and the male gaze.
Like Fantasia – only better: Amy Borsuk reviews Gyre & Gimble interpretation of Vivaldi using puppetry
Black Lives Matter: Tearrance Arvelle Chisholm’s new play sets a family drama against the backdrop of Charlottesville.
Mirrors and warriors: Rosemary Waugh reviews Imogen Butler-Cole’s work about sexual violence and healing
Self-aware and triumphantly obscure: Miriam Gillinson reviews Josh Azouz’s new play involving a giant talking baby.
Garden party: Paul Miller’s revival of Charlotte Jones 2001 play is a leafy, laughter-filled delight.
Around the block: collaborative company Kandinsky’s new show is an intelligent history of housing.
You won’t look at dry cleaning bags with such ease ever again: Francesca Peschier reviews Silent Faces’ office-based comedy.