Despicable acts: Rosemary Waugh reviews Shostakovich’s opera, based on the same short story that inspired William Oldroyd and Alice Birch’s recent film.
An Englishman walks into a refugee camp… Amelia Forsbrook reviews Mark Thomas’s show based on his time setting up a comedy club in Palestine.
A queasy confection: Hailey Bachrach on the uneasy laughs of a Wodehouse-inspired comedy.
Two in one: John Fitzpatrick’s play is both kitchen sink comedy and insightful study of social evolution.
Popularity, football, sex and drugs: Brendan Macdonald reviews Kenneth Emson’s new play set in an Essex school
No shoes: Francesca Peschier reviews a play inspired by the Monica Lewinsky scandal through its costumes
Weathering the storm: David Haig’s D-Day drama is old-fashioned and expertly acted.
The bees are saved, and everybody listens: Maddy Costa reviews Tim Crouch’s new show for children and adults.
A widescreen battle of the sexes: Ed Nightingale reviews Michelle Barnette’s new play about modern relationships
Seething resentment: Bruce Graham’s play applies the heat to an exploration of prejudice and hypocrisy in Philadelphia.
Blood cells and viruses: Arinzé Kene’s solo show is a complex exploration of gentrification and representation.
Love and hate: Stephanie Silver’s play explores the impact of the 7/7 bombings on a group of teenage Londoners.
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
No museum piece: Sean Holmes’ self-aware modern-day Sean O’Casey revival doesn’t feel revolutionary.
You lucky, lucky people: Michael Longhurst’s Chichester production makes a triumphant London transfer.