Charisma and careerdom: Rosemary Waugh writes on Noel Coward’s slightly creaky comedy, starring Andrew Scott.
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.
Vaulting ambition: Arjun Sajip writes on Ivo Van Hove’s bold but flawed staging of a 1969 cinematic classic.
Jagged and off-kilter: Hailey Bachrach writes on a flawed revival of a lyrical musical.
A bitter draft: Alice Saville reluctantly reviews David Mamet’s Weinstein play.
No place like home: Frey Kwa Hawking reviews Nancy Medina’s revival of Caryl Phillips’ family drama.
‘They capture a moment and keep it hanging there, letting you bask in it all’: Kate Wyver writes on Dylan Coburn Gray’s swirling reflection of Dublin.
Alarming prophecies: Simon Gwynn writes a dystopian diary in response to Little Bulb’s show exploring Artificial Intelligence.
‘The political through the personal’: Emily Davis reviews Apphia Campbell’s Woke, which depicts five decades of civil rights struggles.
Swatting up: Freddie Machin writes on Exchange Theatre’s bilingual production of Jean Paul Sartre’s take on the Oresteia.
A mighty body quake: J N Benjamin writes on Okwui Okpokwasili’s pulsating experimental dance piece.
‘Collective power’: Nkenna Akunna writes on the complex resonances of Notting Hill carnival explored in Yasmin Joseph’s play.
‘Jagged flashes of the hyperreal’: Hannah Greenstreet reviews Sarah Kosar’s new play, which explores a woman’s complicated relationship with guns.
Chaos magic: Ka Bradley writes on Stefan Jovanović’s confusing, genre-blurring queer dance piece.