A spreading bruise: Alice Saville writes on Lies Pauwels’ participatory exploration of dealing with emotional pain.
‘An offering to just a few of those that history missed out’: Frey Kwa Hawking reviews Daniel York Loh’s new play about the Chinese Labour Corps.
The lights are up: Rosemary Waugh reviews Robert Icke’s illuminating reimagining of Ibsen’s play.
‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant
Spots of time: Josephine Balfour-Oatts reviews a visually evocative production of Nessah Muthy’s new play about caring for a relative with dementia
Graft, grit and glitter: Francesca Peschier writes on the shifting layers of Emma Rice’s retelling of Angela Carter’s story.
Same old story: Nina Raine’s play ends up reaffirming a depressingly familiar set of stereotypes about childless women.
Punching up: Joy Wilkinson’s play is an exhilarating trip into an imagined world of Victorian women’s boxing.
As Matthew Lopez’s gay epic transfers from the Young Vic to the West End, Frey Kwa Kawking writes on its sprawling, compassionate glory.
Uncanny valley: David Hare’s satire of Labour politics might be set in the present day, but it belongs in another era.
‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies
Shakespeare as party: Lauren Mooney writes on a fantastically warm, welcoming opener to Kwame Kwei-Armah’s reign at the Young Vic.
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance
The waves are rolling in or moving out: Rosemary Waugh reviews Katie Mitchell and Alice Birch’s latest collaboration.
Signs of the times: Annegret Märten and Emilie Oléron Evans give a tutorial on Matthew Parker’s production of Ionesco’s absurdist play