Sunshine and suicide: Rosemary Waugh reviews the English National Ballet’s performance of Nureyev’s take on Shakespeare.
Christmas is the time for revenge: Chris McCormack reviews Philip St. John’s new supernatural drama.
Instinctive honesty and benevolence: Paul Hughes reviews the latest work from Igor & Moreno.
As $elfie$ comes to Hackney Showroom, Malik Nashad Sharpe explores the Black and Queer contexts behind their performance.
You’re being watched: Rosemary Waugh reviews Anders Lustgarten’s new play about Elizabethan intrigue.
Grasping, sweaty choreographies of impulse: Paul Hughes reviews Meg Stuart’s work about bodies, bodies, bodies.
A surefire festive treat: Lauren Mooney reviews the return of Margery Williams’s Velveteen Rabbit to the Unicorn Theatre.
Identity crisis: Amelia Forsbrook reviews Nico Muhly’s ‘non-committal’ opera.
The female currency of war: Natal’ya Vorozhbit’s harrowing new play explores conflict in Ukraine
Can an emoji transform back into real emotion? Jarlath Tivnan’s new play asks compelling questions of mental illness.
Ageing disgracefully: this Ayckbourn comedy’s best days are behind it.
Growing pains: H2Dance’s 2015 show meditates on ageing, memory, and the generation gap.
Walking in the air: Storyboard P’s Afrofuturist performance defies gravity to put a smile on your face.
The Room meets Grange Hill: Iain Hollingshead and Timothy Muller’s new high-school musical gets an F- from Francesca Peschier.
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.