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The Lady from the Sea, Arcola Theatre, London

There is more than Ibsen’s usual measured ration of gags in a play whose mythology and melodrama are alien to our notions of the playwright, writes Ian Shuttleworth

Familyman, Theatre Royal, Stratford East, London

This exuberant comedy is a riot from start to finish. It lacks subtlety, but it makes up for its flaws with sheer theatrical zest, writes Sarah Hemming

Golden Globe

The success of Shakespeare’s Globe has astonished British and North American arts circles, but it was never meant to be anything other than an authentic Elizabethan playhouse

Madness in court and country

The staging of Shakespeare's history plays – Henry VI Parts 1-3 and Richard III – at the Roundhouse makes the cycle feel like a civic event of sorts, with a sense of the audience bearing witness as citizens to the narrative of the state, writes Ian Shuttleworth

Les Troyens, Symphony Hall, Boston

Levine, who conducts with apparent new resources of energy, has become more detail-oriented, while still moving the music along with customary confidence, writes George Loomis

Lohengrin, Grand Théâtre, Geneva

Daniel Slater’s approach recalls Robert Carsen’s much-revived version for the Paris Opera, but there is no swan and Lohengrin is a muddied traveller, writes Francis Carlin

Ballet Boyz, Sadler’s Wells, London

‘Mesmerics’ uses the darkness of a Philip Glass string quartet for encounters between five dancers, which open out into haikus of feeling and energy, writes Clement Crisp

Thurgood, Booth Theatre, New York

Even when this story of Thurgood Marshall descends into a recitation of its subject’s achievements, actor Laurence Fishburne makes them seem epochal, writes Brendan Lemon

Birmingham Royal Ballet Triple Bill, The Lighthouse, Poole

Sir Frederick Ashton’s ‘Dante Sonata‘, Kit Holder’s ‘Small Worlds’ and Kenneth MacMillan’s ‘Elite Syncopations’ made an attractive programme, writes Gerald Dowler

Tamerlano, Washington National Opera

From his first contemptuous glance at his guards when emerging from a subterranean cell, Domingo’s performance has a lot more going for it than just age, writes George Loomis

Siegfried, Staatsoper, Vienna

Cry-Baby, Marquis Theatre, New York

The City, Jerwood Theatre, London

Simon Boccanegra, Royal Opera House, London

More tenderness than terror

Glyndebourne’s generation game

The Year of Magical Thinking, Lyttelton Theatre, London

The Taming of the Shrew, Courtyard Theatre,
Stratford-upon-Avon

Phoenix Dance, Sadler’s Wells, London

Nova Scotia, Traverse Theatre, Edinburgh

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