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.
A man’s world: Phil Ormrod’s four-handed drama explores father-son relationships and male violence.
Dream on: Rosemary Waugh reviews a new work-in-progess from The Plasticine Men about selling cars to the Indian market
Different hymn sheets: writer Rajiv Joseph and director Lisa Spirling don’t see eye to eye in this spiralling history of Russia.
Defiance as superpower: Freddie Machin reviews Rachael Young’s new show about Afrofuturism and the cult of Grace Jones
“Get ready to get wet.” Freddie Machin reviews a bath-themed circus show
Awe-inspiring noise: Lilith Wozniak reviews a four and a half hour triple bill of spoken word and intense sounds from Chris Brett Bailey.
Clam jam: Izzy Tennyson’s play is a grimy, intriguing look at Dalston’s lesbian party scene.
Tongued into submission: Francesca Peschier tries to put the joy of Chris Brett Bailey’s solo set into words.
Keeping quiet: no-one talks to each other in Mike Bartlett’s powerful and poignant first play.