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.
Francesca Peschier reviews Hideki Noda’s “utterly bizarre gender-bending kaleidoscopic piece of work”.
Hydraulic elegance: Anna Winter reviews Balletboyz and their programme of four works created in fourteen days.
Ramps on the Moon’s Deaf and disabled-led revision of a classic doesn’t go far enough, writes Amelia Cavallo.
Not all porn? Hannah Greenstreet reviews a revival of Sarah Daniels’ play about sexism and pornography
An all too real horror story: Ka Bradley reviews DeNada Dance Theatre’s radical rewrite of the famous fairytale