Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.
Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.
‘Something strange and wild emerges from familiar architecture’: Lauren Mooney reviews Annie Jenkins’ impressive debut play about female friendship.
‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play
Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking
“This is Shakespeare as petty playground squabble, rather than stately struggle for the throne” – Fergus Morgan writes on Joe Hill-Gibbins’ punchy, political Richard II.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
‘The most millennial millennial’: Emily Davis writes on Bebe Sanders’ one woman show about an intergenerational friendship
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding’s ‘gentle and very different Christmas show’
Hailey Bachrach writes on the Menier’s wintry new staging of a musical that’s “by and for the kinds of Jews who want something to celebrate at Christmastime”.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”