Makram J. Khoury as Shylock and Gwilym Lloyd as Tubal in 'The Merchant of Venice'
©Hugo Glendinning

The Merchant of Venice, Royal Shakespeare Theatre, Stratford-upon-Avon, UK — review

Polly Findlay’s production shows a hollow Shylock in a cold world

Tatsuya Fujiwara, centre, as Hamlet
©Takahiro Watanbe

Hamlet, Barbican, London — review

Yukio Ninagawa’s visually sumptuous staging justaposes east and west, tradition and rebellion

Ellie Piercy with Daniel Crossley in 'As You Like It"
©Simon Kane

‘As You Like It’, Shakespeare’s Globe, London

Michelle Terry as Rosalind gets to play with that double-whammy gender-bend

Justin Bartha and Elizabeth Reaser in 'Permissions'
©Jenny Anderson

Permission, Lucille Lortel Theatre, New York — review

Robert Askins’ new play sends up religious patriarchy

Cuba: Showtime in Havana

Dance troupes excite audiences but reforms are urgent in the Caribbean island to boost the economy

Heather Lai and Lucy Ellinson (standing) in 'World Factory'
©David Sandison

World Factory, Young Vic, London — review

A sharp and subtly disturbing piece of political theatre

Thomas Sadoski and Amanda Seyfried in 'The Way We Get By'
©Joan Marcus

The Way We Get By, Second Stage, New York — review

Neil LaBute is on familiar territory with his new play

Stuttgart Ballet in John Cranko's 'Initials RBME'
©Stuttgart Ballet

All Cranko!, Opernhaus, Stuttgart — review

A handsome tribute to the man who made the company world class

HIGH SOCIETY music & lyrics: Cole Porter book: Arthur Kopit based on 'The Philadelphia Story' by Philip Barry design: Tom Pye lighting: Peter Mumford choreographer: Nathan M Wright director: Maria Friedman <br> Rupert Young (C.K. Dexter Haven), Kate Fleetwood (Tracy Lord) Old Vic Theatre (OV), London SE1 14/05/2015 ©Donald Cooper/Photostage ref/0171
©Donald Cooper

High Society, The Old Vic, London — review

A vivacious end to Kevin Spacey’s tenure at the Old Vic

Communicating Doors
©Manuel Harlan

Communicating Doors, Menier Chocolate Factory, London — review

The time-travel thriller suffers from heavy-handed treatment

Ballet steps into the past

The practice of recasting works to their original forms is gaining impetus

Interview: Lisa Dwan

The actress talks about her rapid-fire Beckett trilogy

Northern Ballet, Linbury Studio, London — review

A mixed bill played to the versatile dancers’ strengths

Classic ABT, Metropolitan Opera, New York — review

Works from the 1940s contrasted the wild west with repression

The Father, Tricycle Theatre, London — review

Florian Zeller’s play about dementia is devastating but brilliant

Rambert, Sadler’s Wells, London — review

New works depicted mining in Wales and the very nature of dance

Woolf Works, Royal Opera House, London — review

Wayne McGregor’s Woolf-themed work aims very high — and misses

Hay Fever, Duke of York’s Theatre, London — review

The revival lacks the energy that Noël Coward’s comedy demands

Flanders Fields, Royal Ballet of Flanders, Opera, Ghent — review

Ricardo Amarante’s new work was part of an impressive programme commemorating the first world war

The Painted Rocks at Revolver Creek, Signature Theatre, New York — review

A touching story of an ‘outsider artist’ on a South African farm