Reminder: you’re going to die. Rosemary Waugh reviews Dead Centre’s work about Shakespeare’s son
Breadth and depth: Madani Younis’ revival of Winsome Pinnock’s 1987 classic is richly detailed.
An achingly profound and lasting poignancy: Akram Khan’s last solo show is a moving exploration of WWI.
Words, words, words: Brian Friel’s masterful meditation on language is magnificently revived by Ian Rickson.
It’s not rape if… Hailey Bachrach writes on Nina Raine’s clever, troubling exploration of assault and the justice system.
‘Lacks any sense of jeu d’esprit’: Neil Dowden reviews Christopher Hampton’s relocation of Molière to Trump’s America.
‘The tried-and-true dynamic of steely mother and slightly hapless son’: Hailey Bachrach reviews a revival of D H Lawrence’s play set during the 1912 miners strike.
Taylor Swift and suburban marriages: Frey Kwa Hawking reviews the UK premiere of Mary Laws’ play about a family breakfast gone wrong.
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.
Charming, inventive and beautiful: Lauren Mooney reviews the return of a WWI-set Peter Pan to the Open Air Theatre.
Boom and bust: Chris McCormack reviews Veronica Dyas’ new play inspired by Bertolt Brecht’s The Mother.
Tracey Sinclair reviews a one man show about an ingenious stretch of coastal electric railway
Inappropriate texts: Frey Kwa Hawking on a disconcerting play about the impact of rape accusations.
I’m ready to work: Hannah Greenstreet responds to a frenzied, feminist reimagining of Chekhov with a letter to its creators, RashDash.
Disabling prejudice: Athena Stevens’ play about the social politics of disability impresses on its revised return.