‘Lacks any sense of jeu d’esprit’: Neil Dowden reviews Christopher Hampton’s relocation of Molière to Trump’s America.

‘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.

‘Teetering on the edge’: Maria Iu reviews the Julie Cunningham Company’s version of Sarah Kane’s Crave

Storybook kings and queens: Rosemary Waugh reviews George Benjamin and Martin Crimp’s new opera, directed by Katie Mitchell

War and peace: Rosemary Waugh reviews the Maly Theatre of St Petersburg performing Vasily Grossman’s epic work

Creative control: Joe Penhall’s new play is a look at the hard, cynical, sexist world of the music industry.

Bridget Minamore writes on Natasha Gordon’s debut play, an emotive, truthful exploration of black grief.

The inadequacy of language: Alice Saville on Rodney Ackland’s sprawling epic of post-war London nightlife.

“Thank you for loving me.” Maddy Costa reviews Anthony Neilson’s new play, which follows a couple’s foundering sex life.

As enjoyable as a light breeze in mid- July: Josephine Balfour-Oatts reviews David Hare’s play about the founding of Glyndebourne