Staged magic: Alice Saville writes on Eve Leigh’s play, and its explorations of grief and artifice.
Justice is served: Ed Nightingale writes on John Donnelly’s biting, densely political Molière adaptation.
Working it out: Naomi Obeng reviews Luca Rutherford’s solo show in two parts – a written response, and an audio recording made immediately after the performance.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
Singing her song: Louise Jones reviews Emma Geraghty’s solo show exploring fatness and queerness through music.
‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.
Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.
Ned Bennett’s subtle and physical production brings out ‘the sticky straw and steaming shit side of horses’, as represented in Peter Shaffer’s play, writes Rosemary Waugh.
‘Different kinds of storytelling’: Emily Holyoake reviews Yellow Earth and Extant’s collaborative circus-theatre piece made with blind actors.
‘Who has the freedom to force choices onto whom and why?’: Kate Hewitt’s new take on Stephen Adly Guirgis’s play questions the possibility of free will within the penal system, writes Verity Healey.
Bad parenting: James Varney writes on the ambiguous critical outlook of David Judge’s autobiographical monologue on race and fatherhood.
Personal and political: Lilith Wozniak reviews Chinonyerem Odimba’s play for Eclipse Theatre, set during the Bristol Bus Boycott.
Paralysing pontifications: Sally Hales writes on Anne Washburn’s brilliant new satire of an America that can’t save itself from Trump.
Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
Diamonds in a rhinestone world: Francesca Peschier writes on Dolly Parton’s musical theatre extravaganza.