A destroyed room: Alice Saville writes on the dust-coated debates of Ibsen’s rarely staged play.
Sure-of-itself smoothness: Frey Kwa Hawking writes on Small Island, and Rufus Norris’s cinematic approach to staging Andrea Levy’s migration narrative.
‘Where is the danger coming from?’: Emily Davis reviews Tabitha Mortiboy’s new play, which explores the impact of the male gaze on a queer female relationship.
Murky green depths: Ava Wong Davies writes on Zoe Cooper’s rippling exploration of gender fluidity in a coastal town.
‘A magic box of delights’: Tracey Sinclair reviews Frozen Light’s tactile, sensory show for audiences with profound and multiple learning disabilities.
Clod Ensemble’s visually striking, monochrome dance piece “captures the claustrophobic oddness of a house party”.
Stitching stories: Catherine Love on Paula Varjack’s complicated love letter to fashion.
Deep cuts from DJ Anglerfish: Lilith Wozniak on The Wardrobe Ensemble’s latest instalment in their Seekers series for younger years.
‘A dark wonderland’: Aniqah Choudhri finds beauty in the flamenco, vaginas and talking toilets of Caroline Horton’s new family show.
Improbable feats: Ben Kulvichit writes on heroes and villains in Inua Ellams’ new play, which fuses Greek and Yoruba mythology.
Give ’em the old razzle dazzle: Sally Hales writes on an all-out (but subtly icky) staging of the musical classic.
‘Sharpness and spikiness’: Tracey Sinclair reviews Katie Arnstein’s nostalgia-laced debut show about a feminist coming-of-age.
‘The kind of beauty that leaves you feeling a little hopeless’: Rosemary Waugh reviews Rebecca Frecknall’s production of Three Sisters.
Christopher Adam’s new play Tumulus is ‘swift, stomach-dropping swoop into noir’ investigating chemsex culture, writes Frey Kwa Hawking.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.