A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
Plenty to unpick: Anna Winter reviews Shobana Jeyasingh’s take on Marius Petipa’s La Bayadere.
A small-scale, contemporary rags-to-riches story: Emily Holyoake reviews Tom Nicholas’s new play based around video games and depression.
I mean, at least you’d have a woman’s voice… Adelaide Waldrop and Brendan Macdonald record their post-show discussion about David Ives’ play.
Molly Grogan reviews Schaubühne Berlin’s production in NYC.
“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.
Loren Noveck discovers a previously overlooked reading of As You Like It.
“Led by feeling and emotion”: Rachel Elderkin admires Bawren Tavaziva’s richly expressive and highly personal new show at Sadler’s Wells.
“A well-deserved second wind”: Tracey Sinclair reviews English Touring Theatre’s revival of Sam Holcroft’s Ayckbourn-esque 2015 comedy.
There’s more to life than life on earth: Francesca Peschier reviews Andrew Thompson’s new play about space travel and families.
Molly Grogan reviews Elevator Repair Service’s cool turn at Shakespeare.
Alison Walls reviews a part performance, part conversation between a Turkish journalist and her mother about being a Muslim woman in Europe.
The duality of space, or how not to catch a Lapras: Ka Bradley reviews Charlotte Spencer Projects’ immersive piece on a disused site near London City Airport.
Cold as raw data: Chris McCormack reviews Stacey Gregg’s contemporary take on Kafka’s The Trial.
The miracle of unburdening yourself: Hailey Bachrach reviews Angela Clerkin’s “gothic fairytale”.