‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.
Shipshape hilarity: Ed Nightingale reviews SpitLip’s WWII entirely entertaining comedy-musical.
Pastel nightmares: Frey Kwa Hawking writes on a riotous exploration of skin-lightening and prejudice.
Kate Wyver writes on Bella Heesom’s (pubic) hair-raisingly literal exploration of all things vulval.
‘I have never enjoyed a single opera I have ever seen’: JN Benjamin writes on English National Opera and the Unicorn’s production of Dido for young audiences.
Caring ‘for the complexity of social interconnection’: Maddy Costa writes on Human Jam, which excavates the impact of HS2 on Camden.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘It makes my bones ache to watch’: Emily Davis writes on Ridiculusmus’ show exploring ageing.
Odd occurrences: John Murphy reviews a surreal, funny adaptation of Finnish director Aki Kaurismäki’s 2002 film.
“There’s a definite gloss to this staging” – Rosemary Waugh writes on Marianne Elliott and Miranda Cromwell’s West End-ready take on Arthur Miller’s story.
Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
Liberal tragedy: Hannah Greenstreet reviews Jude, ‘a stylistically muddled’ take on Thomas Hardy’s Jude the Obscure.
Shine on: Lauren Vevers reviews a galvanising coming-of-age story from rapper and actor Kema Sikazwe.