Swatting up: Freddie Machin writes on Exchange Theatre’s bilingual production of Jean Paul Sartre’s take on the Oresteia.
A mighty body quake: J N Benjamin writes on Okwui Okpokwasili’s pulsating experimental dance piece.
‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.
Wild and well-armed: Maddy Costa reviews Documental Theatre’s country and Western musical following a BHS employee robbed of her pension.
‘Collective power’: Nkenna Akunna writes on the complex resonances of Notting Hill carnival explored in Yasmin Joseph’s play.
National heroes: Crystal Bennes writes on Scottish nationalism in her review of Wonder Fools’ play about four Scottish miners who volunteered to fight in the Spanish Civil War.
You and I, here and there: Ben Kulvichit responds to Jo Fong and Sonia Hughes’ participatory piece by setting a timer for six minutes.
‘Jagged flashes of the hyperreal’: Hannah Greenstreet reviews Sarah Kosar’s new play, which explores a woman’s complicated relationship with guns.
Speaking out: Lilith Wozniak reviews a new play from National Theatre Wales about abortion and the dangers of silence, set between Ireland and Wales.
Down memory lane: Hoipolloi’s last entry in their Loose Change Trilogy features Shôn Dale-Jones’ alter-ego and reconstructed memories of his late father.
Chaos magic: Ka Bradley writes on Stefan Jovanović’s confusing, genre-blurring queer dance piece.
Knights at the circus: Rachel Nouchi reviews Cheek by Jowl and Moscow Pushkin Theatre’s take on Francis Beaumont’s early modern meta-comedy.
There’s a “thrilling cumulative power” to Samuel Adamson’s Ibsen-inspired study of queer relationships through successive decades.
A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.
‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.