Emotive notes: Alice Saville responds to Dave Malloy’s passionate symphonic musical with a review in four movements.
‘There is a sense of the stakes involved in her being on stage’: Hannah Greenstreet writes on Hannah Jane Walker’s show, which explores sensitivity through storytelling.
Unholy matrimony: Louise Jones reviews Gracefool Collective’s unruly deconstruction of wedding traditions.
“Get in, losers, we’re going capital-W Weird”: Ava Wong Davies writes on Lisa D’Amour’s startling, dreamlike story of female adolescence.
Polluted truths: Emily Holyoake writes on post-truth politics and cross-gender casting in Rebecca Lenkiewicz’s Ibsen update.
People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.
Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.
Memory road: Aniqah Choudhri reviews National Theatre of Scotland’s adaptation of celebrated poet Jackie Kay’s memoir.
“Did anyone spend a single second thinking about this show?!” – Hailey Bachrach writes on a baffling stage outing for the ’80s bodyswap movie.
Airlock of the heart: Christine Irvine reviews a visually dazzling but psychologically unsatisfying adaptation of the sci-fi classic from David Greig and Matthew Lutton.
‘I’ve never known Sherlock to have a Geordie accent’: Lauren Vevers writes on an atmospheric, distinctly Northern, Conan Doyle adaptation.
Ain’t no party like a Regency ball: Lilith Wozniak reviews Blood of the Young’s irreverent, karaoke-fueled take on Austen.
Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.
“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.