The latest play by Yael Farber, the South African director and playwright whose show, Mies Julie was a massive hit at Edinburgh last year, is based around the bus gang rape of Jyoti Singh Pandey, which occurred in Delhi on 16 December 2012.

An assortment of ballet bonbons shows Acosta at his most delectable, and occasionally at his doomiest

There's a touch of the Krays about this East End 'Lear' in which a dodgy property empire crashes

Sketch realignment is a feature of this year's Fringe with various groups combining or downsizing, splintering off into solo ventures and so forth. The scene has never been so varied and there is something for even the most sceptical observer of the genre.

The last time Phoebe Waller-Bridge appeared on stage, in Jack Thorne’s Mydidae, she was naked in a bathroom and going through her ablutions. In her hot new solo show for Edinburgh, she’s no less startling or revealing but she does keep her clothes on.

“One year mair, one year less,” rumbles Gordon Brown, thinking back to the homespun sayings of his hometown of Kirkcaldy - this one a somewhat cynical birthday greeting.

Arriving for a London summer season, the Bolshoi Ballet is overshadowed by appalling backstage dramas. The great Moscow company has been plagued by factions for years; in January, artistic director Sergei Filin was the victim of an acid attack, and is now fighting for his sight. One of the dancers, Pavel Dmitrichenko, has been charged with ordering the assault. In these grim circumstances, you might expect the dancers to look demoralised, or to come out fighting. In fact, they do neither. A law unto itself, the Bolshoi sails on.

No shortage of thought and effort has gone into making this updated working of the Arthurian legend more than just a hot afternoon or evening at the theatre.

Only a deranged optimist would head to a show called Wag! The Musical expecting a bitingly witty deconstruction of the culture of footballers' wives and girlfriends and its impact on the values of young women.

For all its razzle-dazzle, this musical about circus trickster P T Barnum is mind-numbing

2013 marks 75 years since the birth of Rudolf Nureyev, twenty since his death. English National Ballet’s new triple bill pays tribute to one of ballet’s greatest stars, and to the range of his career, which stretched from classicism of his Russian schooling to the new and older ballets he discovered on defecting to the west. ENB’s tribute is wide in scope but patchy in execution.

All's Well That Ends Well is amongst the least loved of Shakespeare's comedies and though there have been a couple of excellent revivals in the Swan in the past couple of decades, it's been twenty five years since the RSC last mounted it on the main stage.

As a gay man and a passionate football supporter Rob Ward has struggled for years to make the two aspects of his life sit together comfortably. Given the homophobia endemic in football it has not been easy. But it has produced a singularly brave – and rather extraordinary – piece of theatre.

There's a play by Ben Jonson called Epicoene, or The Silent Woman in which a wealthy old fool named Morose has such a fanatical hatred of noise that he's devised a room with double walls and treble ceilings to try to block out the world. 

You have to admire the producing chutzpah of Shakespeare's Globe. In the same week that they announced a 2-year tour of Hamlet that will take in every country on earth (all 205 of them), they have opened this unclassifiable delight.