Beyond nostalgia: Alice Saville writes on a nuanced musical about a lost 1973 gay bar.
Take my hand: Emily Davis writes on Crystal Clear, an accessible but dated romance focusing on a partially-sighted couple.
‘Refreshingly unpolished’: Rachel Nouchi reviews Theatre Royal Stratford East and English National Opera’s production of Benjamin Britten’s biblically-inspired opera.
‘A blistering and entertaining examination of the privilege of disengagement’: Brendan Macdonald writes on Gabriel Bisset-Smith’s semi-autobiographical play.
‘Depression is not poetic’: Hannah Greenstreet writes on Koko Brown’s show about depression, which combines spoken-word, vocal looping and BSL.
In the bedroom: Brendan Macdonald reviews Kenny Emson’s rule-bound new play exploring the dynamics of an affair.
In his corner: Hailey Bachrach reviews Darren Raymond’s adaptation of Othello, which does not do enough to confront the problems of Shakespeare’s original.
Double faults: Freddie Machin reviews Oli Forsyth’s new play, which investigates the breakdown of a tennis star’s relationship with her parents.
‘A surprising elegy’ to America: Ava Davies broadcasts her response to Al Smith’s monologue in the form of voice notes.
No place like home: Frey Kwa Hawking reviews Nancy Medina’s revival of Caryl Phillips’ family drama.
‘They capture a moment and keep it hanging there, letting you bask in it all’: Kate Wyver writes on Dylan Coburn Gray’s swirling reflection of Dublin.
Alarming prophecies: Simon Gwynn writes a dystopian diary in response to Little Bulb’s show exploring Artificial Intelligence.
‘The political through the personal’: Emily Davis reviews Apphia Campbell’s Woke, which depicts five decades of civil rights struggles.
Swatting up: Freddie Machin writes on Exchange Theatre’s bilingual production of Jean Paul Sartre’s take on the Oresteia.
‘Collective power’: Nkenna Akunna writes on the complex resonances of Notting Hill carnival explored in Yasmin Joseph’s play.