Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.
Brendan Macdonald responds to Harry Clayton-Wright’s sex-positive coming-of-age performance with a (hypothetical) letter to his mum.
Human and complicated: Brendan Macdonald writes on Daf James’ adoption narrative.
Warm, breathless, sour; Brendan Macdonald writes on Alanna Mitchell’s dramatic diagnosis of the earth’s changing oceans.
‘A blistering and entertaining examination of the privilege of disengagement’: Brendan Macdonald writes on Gabriel Bisset-Smith’s semi-autobiographical play.
In the bedroom: Brendan Macdonald reviews Kenny Emson’s rule-bound new play exploring the dynamics of an affair.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘Grainy portraits’: Brendan MacDonald reviews Tom Ratcliffe’s new play, which explores the ‘struggle to find long-lasting love’ as a gay man.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance
Is there digital life after death?: Brendan Macdonald’s review of Chris Goode’s performance takes the form of a Twitter feed.
Dealer’s choice: Brendan Macdonald on Ontroerend Goed’s interactive game about the world of banking.