The common soldiers, the everyday heroes: Ava Davies reviews Alice Oswald’s elegy to the dead of the Iliad.
The awkwardness of family dinners: Ava Davies reviews Stephen Karam’s Thanksgiving play.
Warmly chaotic: Ava Davies reviews Ell Potter and Mary Higgins’ show about bodies.
Intensely emotional: Charley Miles’ debut play is a love story set in a Yorkshire village.
‘A rush of catastrophic thinking moving in slow motion’: Ava Davies on a reality-distorting two-hander.
Millennial despair: Anorak’s debut show is soaked in anxiety.
‘Like Beckett, if Beckett didn’t piss me off’: Ava Davies on Footprint Theatre’s gently radical two-hander about loneliness and the cosmos.
A very specific idea of Britishness: Ava Davies writes on a show that meets injustice with sugar-coated tweeness.
Inheritance, rejection, stasis: Ava Davies reviews Living House Theatre’s playful take on art and history.
Deep and rich and jagged: Ava Davies on ThisEgg’s fluid exploration of bodies and trauma.
‘Glitters with warmth’: Ava Davies reviews Le Gateau Chocolat’s cabaret version of The Ugly Duckling.
‘The silliness, the fumbling, the mistakes’: Ava Davies reviews Company Three’s show about teenage love.
“Amazing what can happen when you don’t just programme white people” – Ava Davies on the humming energy of a show made by femmes of colour.
Futility and horror: Ava Davies on a revived WWI drama, and the strange way the war sits in our national consciousness.
Show me the knottiness: Marc Pell’s gig-theatre show for nabokov doesn’t embrace its audience enough.