Awe-inspiring noise: Lilith Wozniak reviews a four and a half hour triple bill of spoken word and intense sounds from Chris Brett Bailey.
Clam jam: Izzy Tennyson’s play is a grimy, intriguing look at Dalston’s lesbian party scene.
Tongued into submission: Francesca Peschier tries to put the joy of Chris Brett Bailey’s solo set into words.
Creative control: Joe Penhall’s new play is a look at the hard, cynical, sexist world of the music industry.
Keeping quiet: no-one talks to each other in Mike Bartlett’s powerful and poignant first play.
Bridget Minamore writes on Natasha Gordon’s debut play, an emotive, truthful exploration of black grief.
Checkmate: Benny and Bjorn’s classic eighties musical is completely ridiculous
Francesca Peschier reviews Hideki Noda’s “utterly bizarre gender-bending kaleidoscopic piece of work”.
The inadequacy of language: Alice Saville on Rodney Ackland’s sprawling epic of post-war London nightlife.
“Thank you for loving me.” Maddy Costa reviews Anthony Neilson’s new play, which follows a couple’s foundering sex life.
Hydraulic elegance: Anna Winter reviews Balletboyz and their programme of four works created in fourteen days.
Ramps on the Moon’s Deaf and disabled-led revision of a classic doesn’t go far enough, writes Amelia Cavallo.
Not all porn? Hannah Greenstreet reviews a revival of Sarah Daniels’ play about sexism and pornography
An all too real horror story: Ka Bradley reviews DeNada Dance Theatre’s radical rewrite of the famous fairytale
As enjoyable as a light breeze in mid- July: Josephine Balfour-Oatts reviews David Hare’s play about the founding of Glyndebourne