Containing multitudes: Angelo Irving reviews Ryan Calais Cameron’s play about a group of Black men attending group therapy.

Something fishy going on: Brendan Macdonald writes on Marek Horn’s ‘delightful’ ecological satire exploring the human desire to know.

En garde: Hannah Greenstreet writes on Gracie Gardner’s ‘poised, a little weird and deeply funny’ play about a friendship between two teenage fencers.

‘Poetic lyricism and joyful irreverence’: Farah Najib writes on Jasmine Lee-Jones solo show, a personal excavation of the erasure of Black creatives through history.

Rich tapestry: Brendan Macdonald writes on this ‘joyful and critical examination of the Kiln’s local community and its diverse history’.

Desperate remedies: Brendan Macdonald writes on Alice Hamilton’s revival of Shelagh Stephenson’s comedy-drama that explores memory and family.

‘Sucked into the void’: Farah Najib writes on Diane Page’s revival of Athol Fugard’s dense, challenging play that skewers racial injustice.

If I Loved You: Emily Davis reviews Timothy Sheader’s outdoor production of Carousel, which leans into the knottiness of the musical’s themes.

Community living: Elete N-F writes on Tom Wells’s ‘warm, genuine portrait of life in Kilnsea’.

‘Bafflingly profound’: Brendan Macdonald writes on Sam Yates’ haunting revival of Tennessee Williams’ metatheatrical play.

Searching for a unicorn: Farah Najib writes on Kim Scopes’ playful show, which explores and celebrates experiences of bisexuality.

How the light gets in: Frey Kwa Hawking reviews Tinuke Craig’s revival of Bryony Lavery’s gentle comedy about light and life shared between friends.

‘Waspish, punchy and imagistic’: Lily Levinson writes on Niqabi Ninja, an audio-guided walk that casts light on misogynistic violence and street harassment.

Touching the void: Brendan Macdonald writes on Dante or Die’s interactive exploration of touch, which is a reminder of theatre’s ‘ability to provoke deep, intimate connections between audience and performer’.

Mert Dilek writes on Dawn Walton’s revival of Alfred Fagon’s incendiary play, ‘a crucible in which questions of race, class, and gender intermingle’.