Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.

“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.

‘A whirling, inescapable funhouse of micro and macroaggressions’: Ava Wong Davies writes on Tanika Gupta’s new adaptation of Ibsen’s play, relocated to colonial India.

Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.

Typical?: Lily Levinson writes on Ryan Cameron Calais’s monologue, which explores the devastating consequences of institutional racism.

Say my name: Frey Kwa Hawking writes on Chiaroscuro, the last production in the Bush Theatre’s Passing the Baton series.

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.