‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Shakespeare’s stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.
‘Bed-ridden with everything except a husband’: Amelia Forsbrook reviews the ROH’s ballet about the last Tudor on the throne.
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.
A celebration of the power of music to hold and communicate human history: Maddy Costa reviews a cabaret of songs banned by the Nazis.
A man’s world: Phil Ormrod’s four-handed drama explores father-son relationships and male violence.
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