Feted for cooking up shows that can be mouthwatering as well as thought-provoking, the artist discusses his fusion of South Korean and European culture

When I meet Jaha Koo in Oslo, where he has just been honoured with the prestigious International Ibsen award, I hand him a congratulatory packet of Haribo. The alternative would be a jar of kimchi but one of the many things you learn from Koo’s captivating theatre shows is that air travel and fermented vegetables can be a disastrous combo. When he moved to Berlin from South Korea with 10kg of his grandma’s finest kimchi, it became “bloated like a dead whale” and exploded on his balcony. His new neighbours were unimpressed.

In Koo’s current touring production, Haribo Kimchi, he examines how this unlikely fusion of two foods represents his cultural identity. He does so while preparing an onstage banquet for two lucky audience members. Despite spending many years in Europe, where Haribo gummies originated around a century ago, Koo still finds himself considered foremost as Korean by Europeans. But when he returns to his original homeland he is not always seen as Korean either.

Royal Court theatre, London
A Black British woman traces her family’s enslaved past in Joy Nesbitt’s supernaturally charged play

Joy Nesbitt’s fantastically chilling play is both a ghost story and a reckoning with the undocumented history of enslaved people. It takes us from present-day America into the past, towards the exact moment when slavery was abolished.

A white couple has turned their South Carolina plantation into a holiday rental. People come for celebrations and weddings, we hear. It is tantamount to slave-plantation tourism, says Talulah (Jodie Campbell), a Black British woman who has traced her family line to this spot. Talulah is trying to channel her descendant Ginnie (Ronkẹ Adékọluẹ́jọ) through the ritual practice of “conjuring” – making contact is a way to fill in the gaps of her family’s enslaved past.

Jeremy Strong plays Mark Zuckerberg in Aaron Sorkin’s sequel to The Social Network, and the Last One Laughing star reckons with divorce in her new standup tour

The Social Reckoning
Out now
The David Fincher-directed The Social Network has only come to seem more canny over time, with the site co-founded by Mark Zuckerberg being held responsible for all manner of social ills. In this sequel from Aaron Sorkin (this time directing and writing) based on the incidents around the 2021 leak of internal Facebook memos, Zuck is embodied not by Jesse Eisenberg but Jeremy Strong.

Royal Exchange theatre, Manchester
Matthew Dunster’s disruptive reinvention of the tragedy merges two roles for its star and at times enters Game of Thrones territory

The TV series Succession was partly modelled on King Lear, the family name Roy derived from the monarchic French roi. Returning the compliment, Matthew Dunster’s production centralises dynastic dynamics among the young as they plot around a splintering figurehead.

The reading is supported by a modern setting – jeans, car keys and handguns for hessian, horses and swords – on an Anna Fleischle set of spangly strings variously dividing the stage into a nightclub, England and France, dungeons and, in the storm scene, serving as shower curtains to keep theatregoers dry.