Emotive notes: Alice Saville responds to Dave Malloy’s passionate symphonic musical with a review in four movements.
“Get in, losers, we’re going capital-W Weird”: Ava Wong Davies writes on Lisa D’Amour’s startling, dreamlike story of female adolescence.
People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.
Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.
“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.
‘A whirling, inescapable funhouse of micro and macroaggressions’: Ava Wong Davies writes on Tanika Gupta’s new adaptation of Ibsen’s play, relocated to colonial India.
Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.
Typical?: Lily Levinson writes on Ryan Cameron Calais’s monologue, which explores the devastating consequences of institutional racism.
Say my name: Frey Kwa Hawking writes on Chiaroscuro, the last production in the Bush Theatre’s Passing the Baton series.
Unreliable narratives: Rosemary Waugh writes on Lucy Prebble’s metatheatrical story of Litvinenko’s poisoning.
“Are we laughing with them? At them? What exactly is so funny?” Amy Borsuk writes on the awkward humour of Selladoor’s revival of Falsettos.
Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.
Beat ’em up: Simon Gwynn writes on a pugnacious but uneven Tory party satire.
A cryptic racism: J N Benjamin writes on Branden Jacobs-Jenkins’ haunting story, set on a cicada-ridden plantation.
“You don’t need me to tell you about Fleabag”: Alice Saville writes on a theatrical homecoming for Phoebe Waller-Bridge’s much-loved feminist antihero.