Dream on: Rosemary Waugh reviews a new work-in-progess from The Plasticine Men about selling cars to the Indian market
‘Teetering on the edge’: Maria Iu reviews the Julie Cunningham Company’s version of Sarah Kane’s Crave
Storybook kings and queens: Rosemary Waugh reviews George Benjamin and Martin Crimp’s new opera, directed by Katie Mitchell
A murky moral world: Kali Theatre’s new writing festival boasts a well-researched work-in-progress from Rukhsana Ahmad.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
Different hymn sheets: writer Rajiv Joseph and director Lisa Spirling don’t see eye to eye in this spiralling history of Russia.
Defiance as superpower: Freddie Machin reviews Rachael Young’s new show about Afrofuturism and the cult of Grace Jones
“Get ready to get wet.” Freddie Machin reviews a bath-themed circus show
War and peace: Rosemary Waugh reviews the Maly Theatre of St Petersburg performing Vasily Grossman’s epic work
Awe-inspiring noise: Lilith Wozniak reviews a four and a half hour triple bill of spoken word and intense sounds from Chris Brett Bailey.
Clam jam: Izzy Tennyson’s play is a grimy, intriguing look at Dalston’s lesbian party scene.
Tongued into submission: Francesca Peschier tries to put the joy of Chris Brett Bailey’s solo set into words.
Creative control: Joe Penhall’s new play is a look at the hard, cynical, sexist world of the music industry.
Keeping quiet: no-one talks to each other in Mike Bartlett’s powerful and poignant first play.
Bridget Minamore writes on Natasha Gordon’s debut play, an emotive, truthful exploration of black grief.