Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.
Spinning yarns: Lilith Wozniak writes on a carnival-inspired tale of a swindler out to win a cash prize, drawing from Afro-Caribbean folklore.
‘Pure Dickens’: Christine Irvine writes on Douglas Maxwell’s power-struggle play about a Mod-obsessed asylum seeker and a disillusioned academic.
Liars, cheats and scoundrels: John Murphy on escaping into the familiar world of the classic New York musical.
‘Like the kick of coffee in a gingerbread latte’: Hannah Greenstreet writes on Chris Bush’s Christmas show about family traditions.
‘Gasps and coos’: John Murphy writes on the careful craft and gentleness of a Grimm’s Tale for young children.
Successful parenting: James Varney writes on the obsessive drive of Rose, the vaudeville troupe manager-mother of Gypsy.
Found in translation: Crystal Bennes on the bizarre pleasures of Pu Songling’s classical Chinese fables, adapted for the stage by Grid Iron.
Bloody festive: Lilith Wozniak reviews a pop-culture mash-up Christmas show with flying vampires, strap-ons and Bon Jovi sing-a-longs.
Real plastic trees: James Varney writes on Chanje Kunda’s conversational, autobiographical show about trying to move past trauma.
Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.
Shaft of light: Louise Jones writes on the ‘futile, gripping’ intensity of Athol Fugard’s seldom-produced two-hander.
A faltering take-off: Lilith Wozniak reviews a haltingly staged sci-fi promenade show from National Theatre of Wales and Hijinx Theatre.
Who’s in the picture: Aniqah Choudhri writes on a dance adaptation of Maya Angelou’s poem which glosses over the issue of race.
Same old story: Tracey Sinclair writes on an ‘impressively slick’ solo show which falls into the trap of giving oxygen to its narrator’s toxic outlook.