Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.
‘A whirling, inescapable funhouse of micro and macroaggressions’: Ava Wong Davies writes on Tanika Gupta’s new adaptation of Ibsen’s play, relocated to colonial India.
Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.
Typical?: Lily Levinson writes on Ryan Cameron Calais’s monologue, which explores the devastating consequences of institutional racism.
Say my name: Frey Kwa Hawking writes on Chiaroscuro, the last production in the Bush Theatre’s Passing the Baton series.
Unreliable narratives: Rosemary Waugh writes on Lucy Prebble’s metatheatrical story of Litvinenko’s poisoning.
“Are we laughing with them? At them? What exactly is so funny?” Amy Borsuk writes on the awkward humour of Selladoor’s revival of Falsettos.
Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.
Beat ’em up: Simon Gwynn writes on a pugnacious but uneven Tory party satire.
A cryptic racism: J N Benjamin writes on Branden Jacobs-Jenkins’ haunting story, set on a cicada-ridden plantation.
Freaky fairground mirrors: Rosemary Waugh writes on a playful take on Ben Jonson’s challenging play.
“You don’t need me to tell you about Fleabag”: Alice Saville writes on a theatrical homecoming for Phoebe Waller-Bridge’s much-loved feminist antihero.
A life contained within four walls: Francesca Peschier writes on Wardrobe Ensemble’s poignant devised narrative of homecoming.
A bumpy ride: Francesca Peschier writes on Katie Greenall’s tense show about her journey to body acceptance.
Woozy half-consciousness: Ben Kulvichit writes on Darkfield’s latest shipping container show.