Invisible women: Josephine Balfour-Oatts reviews Annie-B Parson’s feminist dance response to Samuel Pepys’ Diary
Marriage and infidelity: Ed Nightingale reviews Jamie Lloyd’s productions of The Lover and The Collection.
The foibles of the ruling classes: Lilith Wozniak reviews a satire based on Queen Victoria and Prince Albert.
The common soldiers, the everyday heroes: Ava Davies reviews Alice Oswald’s elegy to the dead of the Iliad.
All aboard the Hades Express: Freddie Machin reviews an immersive dining experience promising to take you to hell and back.
Let the doors be locked: Rosemary Waugh reviews Yaël Farber’s Hamlet, starring Ruth Negga.
The question of ownership: Frey Kwa Hawking reviews Debris Stevenson’s autobiographical ode to grime.
Building community: Catherine Love writes on a quietly radical performance, part of a series of public interventions by Common Wealth.
A frozen horizon: Josephine Balfour-Oatts writes on a dance-theatre piece about life on a remote lighthouse.
A modern take on an old story: Nabilah Said reviews Nessah Muthy’s version of One Thousand and One Nights.
Excruciating silences: Peter Brook’s drama is an exercise in painfully slow abstraction.
Nothing else on stage other than her pain: William Drew reviews Jean Cocteau’s end-of-a-realtionship monologue.
WARNING: Hailey Bachrach writes on an unpredictable look at amnesia by young international collective JAMS.
Village politics made mighty: Frey Kwa Hawking reviews Matt Hartley’s new play set in a Derbyshire plague village.
Ingenious design: Lilith Wozniak reviews the stage adaptation of Joe Simpson’s memoir.