Theatre review: Cleansed

A pair of fraternal twins are separated; the female twin, believing her brother to be dead, goes to a strange and possibly dangerous place where she takes on his identity, only to reconnect with him in an unexpected way. It's one of the main plots of Twelfth Night, which Sarah Kane cited as an inspiration for Cleansed, but it's fair to say that she interpreted it in a slightly different way than Shakespeare did. A lot more incestuously, for one thing. Grace (Pearl Chanda) tracks down the hospital-like place where her brother Graham (Jack Riddiford) died of a heroin overdose. The body's long since been cremated so she isn't able to say goodbye to him in that way, instead wearing his clothes and starting to take on his mannerisms. She willingly puts herself under the control of Tinker, the violent and twisted man everyone calls a doctor, but who seems to be anything but a healer.

Theatre review: Romeo & Juliet (Almeida)

Now pretty firmly established as the Almeida's current big-draw director, Rebecca Frecknall tackles her first Shakespeare at the venue, and goes for one regular readers will both know I rarely get on with. In Romeo & Juliet a gang war between two families has been a blight on Verona for who knows how many years if not centuries. Romeo (Toheeb Jimoh) and Juliet (Isis Hainsworth) are teenagers from opposite sides of the conflict, but when Romeo sneaks into a party at his enemies' home, he and Juliet fall in love at first sight. Aware that their families' feud will forbid any relationship between them, they go for an extreme solution and marry in secret. But the violence affects them directly soon enough, Romeo gets exiled for murdering Juliet's cousin, and their convoluted plots to continue fooling their families end in tragedy.

Theatre review: Jerusalem

Just as there are a lot of actors who get forever identified with one role, there are also roles that get identified strongly with one actor. But I've never seen so many people insist that it's unthinkable for anyone other than the original star to take over a role, as I have with Mark Rylance and Rooster John Byron in Jez Butterworth's Jerusalem. It's a theory the latest West End revival has no intention of challenging as, 13 years after first playing the role, Rylance returns to Ian Rickson's production. He brings with him some more of the original Royal Court cast, including Mackenzie Crook as Rooster's hapless sidekick Ginger, an unemployed plasterer who insists he's actually a DJ. What he mostly is is off his face, as what brings him to the dilapidated caravan on the edge of a Wiltshire wood is the same as brings most people there: Rooster is the village's resident drug dealer.

Theatre review: The Duchess of Malfi

Rebecca Frecknall has inherited Robert Icke's Associate Director position at the Almeida and with it, it would seem, the van Hove-style captions and a set dominated by a glass-panelled room. Why this one, designed by Chloe Lamford, appears to be a gym changing room I'm not sure, but if the visuals are a bit more elaborate than in her last couple of shows here, Frecknall's style continues to pare scenes down to a breathtaking minimum. The Duchess of Malfi is John Webster's tale of a woman afflicted with two sexy-but-evil brothers, and Lydia Wilson gives a steely performance as the Duchess who's widowed very young, and claims she has no intention of marrying again. It's a lie she tells because she's in love with her steward Antonio (Khalid Abdalla,) and the gulf between their stations means her older brother the Cardinal (Michael Marcus) would rather see her dead than marrying beneath her and disgracing the family.