Knights at the circus: Rachel Nouchi reviews Cheek by Jowl and Moscow Pushkin Theatre’s take on Francis Beaumont’s early modern meta-comedy.
There’s a “thrilling cumulative power” to Samuel Adamson’s Ibsen-inspired study of queer relationships through successive decades.
A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.
“A snapshot of life”: J N Benjamin writes on August Wilson’s multi-faceted interrogation of Black American life in 1985 Pittsburgh.
“One happy, happy community”: Rosemary Waugh writes on the stiflling smalltown mundanities of Thornton Wilder’s play.
“You can’t build a country on wants”: Maddy Costa writes on Ella Hickson’s play, feminism and capitalism.
Shipshape hilarity: Ed Nightingale reviews SpitLip’s WWII entirely entertaining comedy-musical.
Pastel nightmares: Frey Kwa Hawking writes on a riotous exploration of skin-lightening and prejudice.
Kate Wyver writes on Bella Heesom’s (pubic) hair-raisingly literal exploration of all things vulval.
‘I have never enjoyed a single opera I have ever seen’: JN Benjamin writes on English National Opera and the Unicorn’s production of Dido for young audiences.
Caring ‘for the complexity of social interconnection’: Maddy Costa writes on Human Jam, which excavates the impact of HS2 on Camden.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘It makes my bones ache to watch’: Emily Davis writes on Ridiculusmus’ show exploring ageing.
“There’s a definite gloss to this staging” – Rosemary Waugh writes on Marianne Elliott and Miranda Cromwell’s West End-ready take on Arthur Miller’s story.
Liberal tragedy: Hannah Greenstreet reviews Jude, ‘a stylistically muddled’ take on Thomas Hardy’s Jude the Obscure.