Toxic masculinity rears its head in Rachel Bagshaw’s Globe debut which proves less interested in horror effects than the characters’ emotional journeys

The runner-up compares the surprisingly visceral experience of watching the Almeida’s 2019 production of Webster’s great revenge tragedy online

The front row are given protection for the second half of Maria Aberg’s staging of Webster’s Jacobean tragedy – a brutal tale of female defiance

Annie Ryan’s production does full justice to the sinewy, aphoristic language in Webster’s sinister portrait of corruption

Fiona Buffini’s production does justice to John Webster’s play – even if at times the sense of his words is lost

Maria Aberg update of the Webster play foregrounds its gender politics but ultimately loses as much as it gains, writes Michael Billington

Bim Adewunmi: How John Webster bunked off law school to write his great torture, death and revenge play

Eyestrings’ intelligent production may have a few raw performances, but oozes promise overall, writes Lyn Gardner

That comparative rarity these days: a revival delighting in the language and period setting of Webster’s grisly Jacobean masterpiece. And Eve Best gives a compelling performance that measures up to past duchesses such as Helen Mirren, writes Michael Billington

With new productions of The Changeling and The Duchess of Malfi about to open, it seems we can’t get enough of revenge tragedies. Andrew Dickson on a gruesome addiction

Punchdrunk and ENO play fast and loose with John Webster, and Angela Gheorgiu is a perfect Violetta, says Kate Kellaway