Bullish, gentle, broken, blazing: Simon Stephens, Karl Hyde and Scott Graham’s interrogation of father-son relationships gets to you eventually.
Playing for England: Sabrina Mahfouz and Hollie McNish’s story of women and the beautiful game is touring football clubs and theatres nationwide.
Reminder: you’re going to die. Rosemary Waugh reviews Dead Centre’s work about Shakespeare’s son
Breadth and depth: Madani Younis’ revival of Winsome Pinnock’s 1987 classic is richly detailed.
Words, words, words: Brian Friel’s masterful meditation on language is magnificently revived by Ian Rickson.
It’s not rape if… Hailey Bachrach writes on Nina Raine’s clever, troubling exploration of assault and the justice system.
‘Lacks any sense of jeu d’esprit’: Neil Dowden reviews Christopher Hampton’s relocation of Molière to Trump’s America.
‘The tried-and-true dynamic of steely mother and slightly hapless son’: Hailey Bachrach reviews a revival of D H Lawrence’s play set during the 1912 miners strike.
Taylor Swift and suburban marriages: Frey Kwa Hawking reviews the UK premiere of Mary Laws’ play about a family breakfast gone wrong.
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.
Charming, inventive and beautiful: Lauren Mooney reviews the return of a WWI-set Peter Pan to the Open Air Theatre.
Inappropriate texts: Frey Kwa Hawking on a disconcerting play about the impact of rape accusations.
Underground adventures: Factory Irregular’s devised immersive show doesn’t offer its audience a hand to hold.
‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Shakespeare’s stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.