‘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.
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.
‘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
A murky moral world: Kali Theatre’s new writing festival boasts a well-researched work-in-progress from Rukhsana Ahmad.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
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.
Checkmate: Benny and Bjorn’s classic eighties musical is completely ridiculous
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