Dancing around the periphery: there’s a compelling story lurking somewhere in Selina Fillinger’s debut play.
Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes.
An uneasy mix: Simon Dormandy’s production combines squirmy sexual politics with knockabout comedy.
I’ve seen it five times… Ava Davies reviews the return of Simon McBurney’s The Encounter to the Barbican
Chris McCormack reviews Stephen Sondheim’s musical about nine people who attempted to assassinate US presidents
Losing steam: Irish National Opera’s first production runs out of ideas and invention.
A poem about a poet: Luke Wright’s second verse play dives into the political turmoil of Thatcher’s Britain.
He had it coming: Alice Saville’s review of the sexy, slick courtroom story takes the form of a trial transcript.
Fierce, real, awkward and fake: Lilith Wozniak reviews dance artist James Morgan’s show about myth, monsters and queer identity
It wasn’t written for me: Ava Davies reviews Guleraana Mir’s play about a British Pakistani woman and her family
Despicable acts: Rosemary Waugh reviews Shostakovich’s opera, based on the same short story that inspired William Oldroyd and Alice Birch’s recent film.
If Amazon Prime delivered families: Rosemary Waugh reviews Thomas Eccleshare’s new play about humanoids and parenting.
An Englishman walks into a refugee camp… Amelia Forsbrook reviews Mark Thomas’s show based on his time setting up a comedy club in Palestine.
Endless blue: Sally Hales on Cheek By Jowl’s wonderfully lucid staging of Shakespeare’s romance.
A meditation on the writer: Chris McCormack reviews an experimental piece of theatre inspired by Samuel Beckett