Uncanny valley: David Hare’s satire of Labour politics might be set in the present day, but it belongs in another era.
‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies
Shakespeare as party: Lauren Mooney writes on a fantastically warm, welcoming opener to Kwame Kwei-Armah’s reign at the Young Vic.
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance
The waves are rolling in or moving out: Rosemary Waugh reviews Katie Mitchell and Alice Birch’s latest collaboration.
Signs of the times: Annegret Märten and Emilie Oléron Evans give a tutorial on Matthew Parker’s production of Ionesco’s absurdist play
Perfumed sails: Sophie Okonedo shines in the NT’s swimmingly beautiful staging of Shakespeare’s prickly love story.
‘Gold, sinew and chicken fat’: Nabilah Said reviews Annie Siddons’ epic tribute to SE20 and its residents
Frey Kwa Hawking reviews Forward Arena’s transporting adaptation of Virginia Woolf’s ‘slim, dense, irrepressible novel’
Desire is everything: Adena Jacobs’ staging of Strauss’s opera is full of ponytail-slick, sensuous, striking images.
Invisible women: Josephine Balfour-Oatts reviews Annie-B Parson’s feminist dance response to Samuel Pepys’ Diary
Marriage and infidelity: Ed Nightingale reviews Jamie Lloyd’s productions of The Lover and The Collection.
The common soldiers, the everyday heroes: Ava Davies reviews Alice Oswald’s elegy to the dead of the Iliad.
All aboard the Hades Express: Freddie Machin reviews an immersive dining experience promising to take you to hell and back.
The question of ownership: Frey Kwa Hawking reviews Debris Stevenson’s autobiographical ode to grime.