“Reliably unreliable”: Brendan Macdonald reviews Florian Zeller’s knotty study of truth and lies.
If you just really, really want to run around pretending you’re a vampire, this is for you: Ka Bradley reviews immersive theatre by Hammer House of Horror.
Richard Patterson reviews Dickie Beau’s challenging drag tribute to Monroe and Garland.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.
You can feel the bombs rumbling through your shoes: Lilith Wozniak reviews a site-specific immersive show about the siege of Leningrad.
A den of egoists: Chris McCormack reviews the Gate Theatre’s production of Nina Raine’s family drama.
Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome.
The hands and their gaze: Rohanne Udall a performance of three works by Hema Bharathi Palani, Ronita Mookerji and Emma Jayne Park.
A brilliant tongue in cheek look at the life of a woman in the 1800s: Louise Jones reviews Sara Pascoe’s version of Jane Austen.
“Bloodless, utopian activism clashes with brutal, revolutionary violence”: Lee Anderson on Chilean writer Guillermo Calderón’s new play about conflicting radical ideologies.
“A thrilling and urgent ritual”: Paul Hughes contemplates technology, mortality and the future while watching Colette Sadler’s bold contemporary dance.
Dan O’Neil steps into an escape room as part of an immersive theater project.
A stunning, heartrending performance by Erin Doherty: Corrie Tan reviews a revival of Alan Rickman and Katharine Viner’s play.
Accessible but not patronising: Francesca Peschier reviews Chino Odimba’s adaptation of Oliver Twist for teenagers.
“A unique piece of theatre”: B. L. Sherrington warms to Les Enfants Terribles’ grisly, quirky award-winning show about unruly children, a decade after its premiere.