Flickering flames: Amy Borsuk writes on a production of Shakespeare’s tragedy that makes artful use of candlelight.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
Courage Everywhere, the NT’s celebration of 100 years since (partial) womens’ suffrage, begins with a powerful new play from Graeae.
‘a bit like being occasionally struck by lightning’: Frey Kwa Hawking writes on Made in China’s fast-talking new show.
Gift shop Frida Kahlo: Lilith Wozniak writes on Deborah Antoinette and China Blue Fish’s sketch show, and asks what we want from feminist theatre.
The boy with the lyre: Alice Saville writes on Anais Mitchell’s infernal concept album-turned-musical.
‘I hope for better stories than these’: Tracey Sinclair writes on the prevalence of violence against women as plot device in her review of She Production’s devised play.
‘Bafflement, interest and curiosity’: Ka Bradley writes on Jodee Mundee’s immersive insight into the lives of deafblind people.
‘Let’s talk about speaking’: Lauren Mooney writes on Sue MacLaine Company’s new show, inspired by the practice of Anchoritism.
Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
A broad brush: Louise Jones finds this adaptation of Jane Austen’s novel yields uneven results.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Holding fiction to account: Peter Kirwan writes on the representation of madness in Nottingham Playhouse’s revival of Alan Bennett’s play.
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.