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.
The question of ownership: Frey Kwa Hawking reviews Debris Stevenson’s autobiographical ode to grime.
Excruciating silences: Peter Brook’s drama is an exercise in painfully slow abstraction.
WARNING: Hailey Bachrach writes on an unpredictable look at amnesia by young international collective JAMS.
Village politics made mighty: Frey Kwa Hawking reviews Matt Hartley’s new play set in a Derbyshire plague village.
An enemy of the people: Sally Hales reviews the West End debut of Dawn King’s ‘neat, slick, streamlined four-hander’.
Penetrate the earth in the wrong way it will react. Penetrate the human body with enough daily violence and what…? Maddy Costa reviews Jo Bannon’s new work as part of Unlimited Festival.
Frey Kwa Hawking reviews a play that ‘doesn’t make conventional sense, but a kind of sense you feel intuitively.’
You have nothing to fear: Rosemary Waugh reviews Scottish Dance Theatre with a work inspired by Robert Mapplethorpe.
Makes a seemingly little play vast: Frey Kwa Hawking reviews the Public Acts production of Shakespeare’s Pericles.
Reclaiming a poet: Rosemary Waugh reviews Morgan Lloyd Malcolm’s new play about Emilia Bassano.
‘The bleak loneliness faced by the outcasts of society’: Nabilah Said reviews this one-man show about an illegal digital market place.