“A piece of eloquent controversy”: Daniel Perks analyses the London transfer of What Shadows, Chris Hannan’s kaleidoscopic interrogation of Enoch Powell.
An ambitious reimagining: Chris McCormack reviews a new play inspired by Ibsen’s A Doll’s House.
“Does the work think we care? Does it care if we care?”: choreographer Joe Moran’s evening of minimalist dance performances and installations.
A meditation on loss: Chris McCormack reviews Dead Centre’s new production about Shakespeare’s son.
“More than mere monster”: Tracey Sinclair reviews Neil Bartlett’s “fresh and relevant” staging of Jean René Lemoine’s radical, one-man reworking of the Medea myth.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
“The strength of this programme lies in the works that present something fresh and exciting”: Rachel Elderkin reviews Carlos Acosta’s new dance company.
The start of a conversation? Andrew Edwards reviews Wonder Fools’ show about watching porn.
“A spectator, no less than a society, is complicit”: Chris McCormack reviews a site-specific production about the history of the Irish family.
Lane Williamson finds a lifeless production in director John Doyle’s hands, starring Ellen Burstyn.
Women turned into monsters: Ka Bradley reviews 27 degrees’ exploration of the Medusa myth.
Both hypervisible but invisible: Hannah Greenstreet reviews a set of nine monologues by Muslim women from across the world.
All the colours of the rainbow: Rosemary Waugh reviews Tamara Harvey’s visually beautiful production of Uncle Vanya.
Annie Dorsen wants to dissuade you from taking a social media break. Molly Grogan reviews.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.