You’re being watched: Rosemary Waugh reviews Anders Lustgarten’s new play about Elizabethan intrigue.
Grasping, sweaty choreographies of impulse: Paul Hughes reviews Meg Stuart’s work about bodies, bodies, bodies.
A surefire festive treat: Lauren Mooney reviews the return of Margery Williams’s Velveteen Rabbit to the Unicorn Theatre.
Identity crisis: Amelia Forsbrook reviews Nico Muhly’s ‘non-committal’ opera.
The female currency of war: Natal’ya Vorozhbit’s harrowing new play explores conflict in Ukraine
The Room meets Grange Hill: Iain Hollingshead and Timothy Muller’s new high-school musical gets an F- from Francesca Peschier.
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
Your name is Ruby… William Drew goes on a binaural dinner date.
“As this is a piece of immersive theatre, it doesn’t work unless you follow the rules”: Amelia Forsbrook reviews Les Enfants Terrible’s staging of the story of Pussy Riot.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Put down your iPhones: Rosemary Waugh on Ivo van Hove’s multi-channel story of a news anchorman driven to breaking point.
Hannah Greenstreet on the “unforced relevance” of an immersive reimagining of Elizabeth Inchbald’s 1792 play.
Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.
Gallows humour: Lee Anderson reviews Chris Thorpe & Jon Spooner’s show about shuffling off the mortal coil.