On The Ropes ”tells a story that is fundamentally important to all British people in understanding what it means to be British, particularly in the context of the ongoing debate about immigration”.

Cotton: labour, land and body tries to squeeze centuries of colonial “economic violence”, exploitation, impoverishment and South Asian migration into a single room at the Crafts Council in London.

Grief, death, illness, disability, suffering, loss: Sons Of The Prophet is a Christmas comedy.

Writer and actor Jasmine Naziha Jones grows up a second time in her debut play, Baghdaddy.

The growing Chinese population in the UK exceeds 400,000. How much do you know about their lives here?

The elephant in the room in Anoushka Lucas’ excellent one-woman show at the Bush Theatre is the piano.

During the 1991 Gulf War Maysoon Pachachi  was in London and recalls that “watching the news, I never saw one ordinary Iraqi person on screen. They were absent.”

Time has got tired, says a character wearily in Utama, and director Alejandro Loayza Grisi has filmed it.

A film looking at two generations of Hong Kong demonstrators is a good idea, but Blue Island doesn’t quite pull it off.

There’s more than one way to skin a cat, and there’s more than one way to talk about migration.

The documentary Name Me Lawand pulls your heartstrings every which way to tell the story of a deaf Iraqi Kurd who is taken to Britain by his family.

A migrant’s occupation was set by who picked you up at the airport, recalls a Korean-American in the documentary Liquor Store Dreams.

In the Caribbean village behind God’s back lives a cheesemaker who has a notion that there’s more to the world than an island paradise. And that means trouble.

Jeremy Corbyn and the Royal Court Theatre are two of the targets in Jews. In Their Own Words.

The subject of The Apology is hard to think about, but the play looks at a terrible truth and truths should not be ignored or forgotten.

There’s a lot to be said about the William Kentridge exhibition at the Royal Academy. But the main point is: it’s brilliant.

The P Word is about two gay men of Pakistani origin, one of them British, the other an asylum-seeker - and what happens when their lives accidentally collide.

“Stop cuddling that smelly baby! She’s sick.” Hla has a tough love approach to midwifery.

Two expat Ghanaians meet in London, one takes a photo of the other and they have a conversation. Doesn’t sound like much of a play. But Drum is a delight

Shakespeare’s 10 “history plays” are part of Britain’s school syllabus: the 1947 Partition of India isn’t. It should be.