Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.
A defence, not an apology: Neil Dowden reviews Stockard Channing in Alexi Kaye Campbell’s dinner party drama.
Drink and dullness: Corrie Tan reviews John Tiffany’s revival of Jim Cartwright’s Road.
Stuff – just – happens: Miriam Gillinson reviews Conor McPherson’s new play based around Bob Dylan songs.
Order, order: Rosemary Waugh reviews Lucy Kirkwood’s new play at the National Theatre
A question of responsibility: Maddy Costa reviews Josette Bushell-Mingo performing at the Young Vic.
Raucous, colourful and exhilarating: Simon Gwynn reviews Matthew Dunster and Timothy Sheader’s al fresco adaptation of Dickens’ classic novel.
The price of buying a baby: Bridget Minamore reviews Vivienne Franzmann’s new play about surrogacy.
Going round the houses: Rosemary Waugh reviews Helen Edmundson’s play about the British monarch.
Extraordinary risk, ordinary outcome: William Drew reviews the RSC’s bold collaboration with Imaginarium Studios.
Inspired by Klanghaus’s 800 Breaths, Maddy Costa embarks on a lyrical exploration of music in theatre.
Humans and history books: Rosemary Waugh reviews Taha at the Young Vic as part of the Shubbak Festival.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.
It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.
“It’s hack-work, pure and simple”: Stewart Pringle on Julian Fellowes’ insipid musical version of Kenneth Grahame’s classic.