Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.

A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.

Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.

Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”

‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.

Flickering flames: Amy Borsuk writes on a production of Shakespeare’s tragedy that makes artful use of candlelight.

Courage Everywhere, the NT’s celebration of 100 years since (partial) womens’ suffrage, begins with a powerful new play from Graeae.

Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.

What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.

“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.

“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.

Casual cruelty: Martin McDonagh’s play mixes crude colonialist satire with the trappings of a family Christmas show.

‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant

Graft, grit and glitter: Francesca Peschier writes on the shifting layers of Emma Rice’s retelling of Angela Carter’s story.