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Lourdes Faberes plays Tamburlaine while five actors (one man and four women, all of British-Asian descent) tackle multiple roles in a stylish venture with a minimal set

With no props, a minimal backdrop of neon strips and some sparely used house music interspersing the stories, the focus in Luke Davies’ swift production is Cash’s talent as a master wordsmith

Chinglish at the Park Theatre and Tamburlaine at the Arcola are two current productions giving the stage to some of the capital’s best East Asian acting talent

Lee Mack’s Maitre Jacques smacks the audience between the eyes with cute, wry asides that break the fourth wall, but the relentlessness of the quips from all participants is an exhausting experience

Former Eastender Michelle Collins stars as warm-hearted Gina, a nurse in her late forties with an addiction to painkillers who, following her husband’s stroke, now cares for him full-time

As she prepares to play a cocksure teen, BRIDGET GALTON talks to an actor whose career was launched in a tough role at Hampstead Theatre

Edward Albee’s 1962 marital warfare masterpiece has been magnificently revived by James Macdonald, exchanging blousy melodrama for taut, psychologically plausible theatre

Atomic anticipation greeted the return of bad boy of ballet and dance virtuoso Sergei Polunin to the Sadler’s Wells stage last night.

Co-director of Hackney Showroom, Sam Curtis Lindsay, talks to Zoe Paskett about their second anniversary and a festival celebrating joyful protest

Daniel Radcliffe and Joshua McGuire are loveable in Stoppard’s indulgent play but David Haig is a stupendous presence

It is bold to produce four hours of Shakespeare, but Hamlet is a story that can’t be rushed. That said, four hours is a long time – the guy next to me couldn’t hack it; he was gone in the first interval

This grief-infused Shakespearean comedy often tends towards the melancholy, but Simon Godwin’s madcap, gender-bending, cheerfully queer version rediscovers the mirth.

While low on plot, the 1927 source, a scandalous poem by Joseph Mclure March, provides the basis of a nuanced look at racial tensions and social aspirations

Running Wild returns, bigger and better than before. Zoe Paskett hears the story behind it from author Michael Morpurgo and the creative team

With an energetic cast and brilliant choreography, this production is a well crafted piece of theatre, but it falls short of asking the right questions

The company, which employs disabled and non-disabled dancers, brings their new show to Sadler’s Wells. David Toole talks dancing, Gene Kelly and the Paralympics

Festival producer and Hackney Downs resident Mark Lindow has penned I’ll Be Along D’reckly, about his native Cornwall

The triumph of Partick Marber’s production of Stoppard’s play is the way it honours Stoppard’s dazzling intellect while also going full throttle with the piece’s playful, sometimes bonkers, wit

It’s clear that Anton and Erin Boag have been dancing together for 20 years. They have an easy rapport both in step and conversation that can fill the Barbican’s large main hall

In Jamie Lloyd’s intimate remount of this seminal 90s in-yer-face play, the audience hunker down on ramshackle furniture

Miguel Marin founded the Flamenco Festival in New York in 2001. Now, it is an annual staple at Sadler’s Wells

Oscar Wilde’s 1891 tragedy has become the subject of a 1930s makeover in a bold production by Anastasia Revi

Anton du Beke talks to Zoe Paskett about being with Strictly Come Dancing from the start and dancing with Erin Boag

The two day festival returns to give you a chance to watch and participate in a range of dance from ballet and contemporary to hip hop and tango.

Lilac Yosiphon’s play, One Last Thing (For Now), is calling for love letters in times of war before opening at the Old Red Lion theatre

E-cigarettes, iPhones and Kendrick Lamar in Godot’s Watch’s portrayal of the king’s bloody ascent to the throne

Co-writer Rob Crouch bounds onto the stage in a gorilla suit and bullies an audience member to be his barman for the evening

David Spicer’s new dark comedy has sex, slapstick and silly behaviour performed by an outstanding cast with a collective CV spanning Game of Thrones, Harry Potter, Doctor Who and Phone Shop

Joel Fry, actor known for Plebs, WIA and You, Me and the Apocalypse, talks to Bridget Galton about Raising Martha on at the Park Theatre

Rufus Sewell, Tim Key and Paul Ritter exude charisma in Yazmina Reza’s Laurence Olivier Award winning comedy

The festival stages shows at Sadler’s Wells, Shoreditch Town Hall, the Barbican and Jackson’s Lane

Although these 90 minutes are littered with many funny moments, this is not a belly laugh production: instead we become immersed in the narrative that effortlessly builds tension

This charming musical version is populated by jaunty puppets and there’s much fun as the Captain takes up residence in the fridge and gulps down the goldfish.

‘Love’ is a play of snatched moments,set inside a hostel, the last resort for a cluster of poor people, running out of options.

Sir Matthew Bourne’s “long held ambition” to adapt it for the stage was brave indeed. It has proved to be an inspired and brilliant decision, for the production is beyond wonderful.

CS Lewis’ 1942 novel the Screwtape Letters has enjoyed a cult following with occasional revivals ever since.

BRIDGET GALTON talks to actor Ben Turner about the emotional hit of The Kite Runner

Hunter strips the play down to 90 minutes and presents a brutal, uncompromising mental breakdown.

With so many great voices in the cast, the songs come thick and fast and panto tropes are swiftly ticked off

2 Become 1 ridicules the idea that all women fit into templates – posh, tomboyish, fierce, innocent – while also being a touching narrative on the importance of female friendships

BRIDGET GALTON talks to Simon Callow about bringing Dickens’ festive ghost story back to the stage

The creators of comedy musical 2 Become 1 based on tunes of 90s female pop stars talk to ZOE PASKETT about the Spice Girls and selling out at Edinburgh Fringe

The salon:collective is presenting The Tempest using cue-script preparation, which means there is no group rehearsal prior to the performances. To top that off, the actors don’t find out who plays who until an hour before the show.

The 40th Spitalfields Music Winter Festival opens on Sunday in London’s East End with a mix of Early music, classical Bach, jazz, Swing—and even opera for babies.

Bridget Galton talks to Rudi Dharmalingam about playing a radicalised 16th Century fanatic in Mary Stuart at the Almeida

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