A teasing sext to the benchmarks of ballet: Ka Bradley reviews The Suit, and A Dream Within A Midsummer Night’s Dream.
Like Fantasia – only better: Amy Borsuk reviews Gyre & Gimble interpretation of Vivaldi using puppetry
Black Lives Matter: Tearrance Arvelle Chisholm’s new play sets a family drama against the backdrop of Charlottesville.
Mirrors and warriors: Rosemary Waugh reviews Imogen Butler-Cole’s work about sexual violence and healing
Self-aware and triumphantly obscure: Miriam Gillinson reviews Josh Azouz’s new play involving a giant talking baby.
Garden party: Paul Miller’s revival of Charlotte Jones 2001 play is a leafy, laughter-filled delight.
Around the block: collaborative company Kandinsky’s new show is an intelligent history of housing.
You won’t look at dry cleaning bags with such ease ever again: Francesca Peschier reviews Silent Faces’ office-based comedy.
The bizarre and the nastiness in the everyday: Francesca Peschier reviews a forgotten play by Auden and Isherwood
A vindication of female oddness: Patsy Ferran stars in Tennessee William’s painful study of anxiety, passion and loneliness.
1001 Ballets To See Before You Die: Lucian Waugh reviews three new dance works by Emily Molnar, Crystal Pite, and Sharon Eyal & Gai Behar
Dangerously close: Alexander Matthews’ social drama set in a South London Indian Restaurant just about skirts stereotyping.
Rip-roaringly funny: Naomi Sheldon’s Edinburgh Fringe hit makes a triumphant transfer to London.
Shopping bags and parcel tape: Rosemary Waugh reviews Rufus Norris’s after-the-war Shakespeare.
Farewell, puritanism: Rosemary Waugh reviews the stage adaptation of Ingmar Bergman’s famous film.