Weathering the storm: David Haig’s D-Day drama is old-fashioned and expertly acted.
The bees are saved, and everybody listens: Maddy Costa reviews Tim Crouch’s new show for children and adults.
Don’t panic: Rosemary Waugh reviews Free Falling, a double bill of dance works by Hagit Yakira
A magnolia paint job: Maddy Costa reviews the Royal Opera’s adaptation of Neil Gaiman’s story.
A widescreen battle of the sexes: Ed Nightingale reviews Michelle Barnette’s new play about modern relationships
Honouring the past: Brendan Macdonald reviews Matthew Lopez’s two-part play inspired by E. M. Forster
Seething resentment: Bruce Graham’s play applies the heat to an exploration of prejudice and hypocrisy in Philadelphia.
Blood cells and viruses: Arinzé Kene’s solo show is a complex exploration of gentrification and representation.
Who on earth is this for? Joel Paley and Marvin Laird’s inane Off-Broadway cult hit punches down not up, and that’s the least of its problems.
Love and hate: Stephanie Silver’s play explores the impact of the 7/7 bombings on a group of teenage Londoners.
A hero’s journey: Yorkshire-based rapper Testament’s play explores hiking and history.
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
No museum piece: Sean Holmes’ self-aware modern-day Sean O’Casey revival doesn’t feel revolutionary.
You lucky, lucky people: Michael Longhurst’s Chichester production makes a triumphant London transfer.
Jodi Gray’s wolfish one-woman play is an exploration of ‘monstrous’ femininity and the male gaze.