The female currency of war: Natal’ya Vorozhbit’s harrowing new play explores conflict in Ukraine
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
Self-awareness, irony and sweaty palms: Alice Saville reviews Emma Rice’s joyful, chocolate-covered love story.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Put down your iPhones: Rosemary Waugh on Ivo van Hove’s multi-channel story of a news anchorman driven to breaking point.
Dripping with blood and sweat: Neil Dowden reviews the opening production of the RSC’s Rome Season at the Barbican.
Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.
Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.
Fine-tuned absurdity: Simon Gwynn reviews the return of David Grieg’s stage adaptation of Dr Seuss to the Old Vic.
First farce, then tragedy: Tim Bano on Richard Bean’s knockabout capitalism comedy.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
I mean, at least you’d have a woman’s voice… Adelaide Waldrop and Brendan Macdonald record their post-show discussion about David Ives’ play.
“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.