That damned love triangle: Hailey Bachrach reviews the premiere of a revised version of Andrew Lloyd Webber’s The Woman in White.
There’s something quite frantic and stressful about trying to have a sexy time… Ka Bradley on House of Kittens and erotic storytelling.
Timely vitality: James Fritz’s intense, sprawling new play is a call to action.
Dinner and a show: Swamp Studios’ immersive drama is as light and fluffy as Dishoom’s biryani.
Just kidding: Liwaa Yazji’s exploration of the Syrian Civil War is compelling, confusing and, well, full of goats.
More of an adventure story than a lullaby: Duska Radosavljevic reviews a new puppetry show about bedtime rituals for 2 – 5 year olds.
It takes a village to raise a child… Alice Saville reviews the West End transfer of Tom MacRae and Dan Gillespie Sells’ new musical.
Evolving or revolving: Maddy Costa reviews Rachel Mars and nat tarrab’s new roller derby inspired work.
Slyly lefty and warmly inclusive: Exeunt’s American writer Hailey Bachrach gets to grips with her first pantomime.
Mischievously destabilises: Francesca Peschier reviews the show that gives critics stage fright.
You’re being watched: Rosemary Waugh reviews Anders Lustgarten’s new play about Elizabethan intrigue.
Grasping, sweaty choreographies of impulse: Paul Hughes reviews Meg Stuart’s work about bodies, bodies, bodies.
A surefire festive treat: Lauren Mooney reviews the return of Margery Williams’s Velveteen Rabbit to the Unicorn Theatre.
Identity crisis: Amelia Forsbrook reviews Nico Muhly’s ‘non-committal’ opera.
The female currency of war: Natal’ya Vorozhbit’s harrowing new play explores conflict in Ukraine