‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies

‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance

Signs of the times: Annegret Märten and Emilie Oléron Evans give a tutorial on Matthew Parker’s production of Ionesco’s absurdist play

‘Gold, sinew and chicken fat’: Nabilah Said reviews Annie Siddons’ epic tribute to SE20 and its residents

Frey Kwa Hawking reviews Forward Arena’s transporting adaptation of Virginia Woolf’s ‘slim, dense, irrepressible novel’

All aboard the Hades Express: Freddie Machin reviews an immersive dining experience promising to take you to hell and back.

A frozen horizon: Josephine Balfour-Oatts writes on a dance-theatre piece about life on a remote lighthouse.

A modern take on an old story: Nabilah Said reviews Nessah Muthy’s version of One Thousand and One Nights.

Nothing else on stage other than her pain: William Drew reviews Jean Cocteau’s end-of-a-realtionship monologue.

Document open, review jump out… Nabilah Said reviews Polarbear’s one-man show about how to tell a story.

Wine, dine, smash the gender binary: Freddie Machin on Shotgun Carousel’s Bacchic dinner-theatre experience.

Pleasure-seeking animals: Ben Okri’s play is a visceral, accessible take on Albert Camus’s existentialist classic.

Revolutionary acts: Henry Gleaden on Nadia Fall’s alarmingly current-feeling first show as AD at Theatre Royal Stratford East.

The beauty of brotherhood: J N Benjamin reviews the stage adaptation of Chigozie Obioma‘s novel.

Nabilah Said’s twin cinema review of Arinzé Kene’s powerful solo show.