Let there be light: Hannah Greenstreet reviews Alistair McDowall’s dazzling new play.

Ripples from the past: Hannah Greenstreet writes on Winsome Pinnock’s epic new play exploring the legacies of Britain’s role in the transatlantic slave trade.

A festering wound: Hannah Greenstreet writes on Kae Tempest’s ‘savagely poetic’ adaptation of Philoctetes by Sophocles.

A starting gun: Ava Wong Davies on Robert LePage’s epic but flattening narrative of suffering and resilience.

‘An odyssey in miniature’: Hannah Greenstreet writes on E.V. Crowe’s new play about a woman whose life spirals out of control when she loses a shoe.

Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.

Elegantly wasted: Rosemary Waugh writes on Tony Kushner’s elaborate, infuriating rewrite of Friedrich Dürrenmatt’s play.

Nora, in triplicate: Hannah Greenstreet writes on the historical and economic themes of Stef Smith’s reimagined ‘A Doll’s House’.

“Existential crisis averted, for now”: Sally Hales writes on the welcome humour of Richard Jones’s take on Beckett.

‘A sugary surface with an achingly bitter aftertaste’: Ava Wong Davies writes on Oscar Toeman’s revival of Lucy Prebble’s play about chatrooms and an unlikely friendship.

As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]

An incoherent world: Hailey Bachrach writes on an episodic staging of Elena Ferrante’s wildly successful bestsellers.

Living in a teenage dream: in this dialogue review, Rose Johnstone and Alice Saville chat about 90s nostalgia, commercialised wokeness, and the weird world of the 21st century jukebox musical.

A glorious vision: Ava Wong Davies writes on the wintry magic of Sally Cookson’s Narnia story.

‘Shakespearean civil war as Tarantino-esque entertainment’: Lily Levinson writes on Sean Holmes and Ilinca Radulian’s action-packed double-bill of history plays.