‘Believing deep down that things are, should be, can be fair’: Hailey Bachrach reviews Cressida Brown’s production of a new take on the high-flying myth.

‘Sharp and witty’: Verity Healey reviews Kristine Landon-Smith’s production of Anouilh’s farce about a struggling orchestra in post-war France.

‘Meticulous in depicting the reality of being a body dependent on another body to care for it’: Rosemary Waugh writes on Martyna Majok’s ‘painstakingly realistic’ play.

‘demonstrating how hard true understanding – of both oneself and of another – is to achieve’: Kate Wyver writes on the NOW Festival Week 3 double bill.

‘Brutally sincere’: Ava Wong Davies writes on the Yard’s double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.

‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.

The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.

‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.

Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.

‘Something strange and wild emerges from familiar architecture’: Lauren Mooney reviews Annie Jenkins’ impressive debut play about female friendship.

‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play

Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking