Let the doors be locked: Rosemary Waugh reviews Yaël Farber’s Hamlet, starring Ruth Negga.
The question of ownership: Frey Kwa Hawking reviews Debris Stevenson’s autobiographical ode to grime.
Building community: Catherine Love writes on a quietly radical performance, part of a series of public interventions by Common Wealth.
A frozen horizon: Josephine Balfour-Oatts writes on a dance-theatre piece about life on a remote lighthouse.
A modern take on an old story: Nabilah Said reviews Nessah Muthy’s version of One Thousand and One Nights.
Excruciating silences: Peter Brook’s drama is an exercise in painfully slow abstraction.
Nothing else on stage other than her pain: William Drew reviews Jean Cocteau’s end-of-a-realtionship monologue.
WARNING: Hailey Bachrach writes on an unpredictable look at amnesia by young international collective JAMS.
Village politics made mighty: Frey Kwa Hawking reviews Matt Hartley’s new play set in a Derbyshire plague village.
Ingenious design: Lilith Wozniak reviews the stage adaptation of Joe Simpson’s memoir.
Document open, review jump out… Nabilah Said reviews Polarbear’s one-man show about how to tell a story.
Wine, dine, smash the gender binary: Freddie Machin on Shotgun Carousel’s Bacchic dinner-theatre experience.
An unsatisfying haunting: Liz Roche’s site-specific dance piece summons the literary ghosts of Dublin’s Merrion Square
Pleasure-seeking animals: Ben Okri’s play is a visceral, accessible take on Albert Camus’s existentialist classic.
Revolutionary acts: Henry Gleaden on Nadia Fall’s alarmingly current-feeling first show as AD at Theatre Royal Stratford East.