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Chris Spyrides and Trudy Weiss in Crossing Jerusalem, Park Theatre, London

Crossing Jerusalem, written and directed by Julia Pascal

A Jewish writer fills a vacuum with a play about Israel that refuses to take a simple view as it foregrounds an erotic older woman. Matthew Reisz writes

Review: Ben Whishaw and Kevin Harvey in Bakkhai by Euripides, by Anne Carson

Bakkhai by Euripides, in a new version by Anne Carson

A witty version of the Greek tragedy confronts our desire to watch the unwatchable as it diverts our focus from binaries to transitioning, says Liz Schafer

The Lady's Trial, Love's Sacrifice and 'Tis Pity She's a Whore, Shakespeare's Globe Theatre

Body and soul: the Globe’s John Ford Experiment

A rare staging of the dramatist’s work pushes to the fore seldom-seen plays that reveal the tensions at the heart of his oeuvre, says Lisa Hopkins

Light Shining in Buckinghamshire, by Caryl Churchill

A staging of the 1647 Putney Debates poses inconvenient questions about political means and ends, says Liz Schafer

The Jew of Malta, by Christopher Marlowe

Justin Audibert’s sparkling production showcases the tragedy’s uneasy blend of offence and elation with just a hint of Tarantino, says Peter J. Smith

Macbeth, Lost Theatre, London

Shakespeare’s shortest tragedy is actor-centred and is often best presented stripped of all distractions, says Peter J. Smith

The Royal Ballet: Alice’s Adventures in Wonderland

Live broadcasting has changed how audiences view theatre and performance, says Liz Schafer

A Song of Good and Evil, by Philippe Sands

A musical lecture explores the links between three men connected by the Nuremberg trials, writes Matthew Reisz

Stage whispers: Joan Littlewood

When Liz Schafer interviewed the Oh! What A Lovely War director, she was bowled over by her passionate and indiscreet insights into her life in theatre

The Valley of Astonishment, Young Vic, London

Peter Brook’s play about synaesthesia delights Matthew Reisz with its blend of philosophical themes and Shakespearean comedy

The Malcontent, by John Marston

By using ‘children’ in adult roles the Sam Wanamaker Playhouse both challenges the audience and returns to original practice

Review: The Duchess of Malfi

Physical aspects of a new theatre both add to and detract from a convincingly chilling tale of sororicide, attests Liz Schafer

Shakespeare by numbers: my quest to see every single play

Emma Rees is 34 down, four to go in a bid to see the Bard’s entire canon on stage

A front-row view of Louisiana’s slow death

Anna Hartnell takes part in an immersive theatre experience that has audiences bear witness to environmental catastrophe

Spanish Golden Age Theatre Season, Theatre Royal, Bath

Jonathan Thacker hopes that three comedia nueva plays - combining comedy and tragedy - will herald a revival of a lesser-known art form

Blue Stockings, Shakespeare’s Globe

Jessica Swale’s rollicking play about women in 1890s Cambridge fighting for the recognition of their education has relevance today

Zoë Svendsen on the dramaturge’s role at the heart of the action

The ‘creative consultant’ at work in the National Theatre’s new production of Christopher Marlowe’s Edward II

The Taming of the Shrew: tragedy, comedy or farce?

Three recent productions at Shakespeare’s Globe highlight to the challenge of how to present Katherina’s submission

The horrifying fascination of Titus Andronicus

A new production of Shakespeare’s brutal play continues to elicit disquieting questions about moral values

Naked lecturer looks for nude truth

Daniel Ploeger’s performance provokes minds through ‘body beautiful’

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