A bitter draft: Alice Saville reluctantly reviews David Mamet’s Weinstein play.

A mighty body quake: J N Benjamin writes on Okwui Okpokwasili’s pulsating experimental dance piece.

A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.

“One happy, happy community”: Rosemary Waugh writes on the stiflling smalltown mundanities of Thornton Wilder’s play.

“You can’t build a country on wants”: Maddy Costa writes on Ella Hickson’s play, feminism and capitalism.

“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.

“There’s a definite gloss to this staging” – Rosemary Waugh writes on Marianne Elliott and Miranda Cromwell’s West End-ready take on Arthur Miller’s story.

‘The kind of beauty that leaves you feeling a little hopeless’: Rosemary Waugh reviews Rebecca Frecknall’s production of Three Sisters.

“If Caryl Churchill can’t have a large cast, who can?”: Hannah Greenstreet’s tripartite response to Top Girls explores its place in the theatre canon.

‘Who has the freedom to force choices onto whom and why?’: Kate Hewitt’s new take on Stephen Adly Guirgis’s play questions the possibility of free will within the penal system, writes Verity Healey.

Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.

“A long, slow slide into horror after horror” – Frey Kwa Hawking writes on Nicôle Lecky’s narrative of a young woman suffocated by anxieties.

Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.

Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.