Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.
“A chocolate box of bite-sized folk tales”: Emily Davis writes on sampling 1927’s work for the first time.
Never-ending drama: Emily Davis is delighted by Hannah Maxwell’s nostalgic show about a longstanding amateur dramatics society.
“Silence. And tea”: Emily Davis responds to Charlotte Josephine’s precise portrayal of a father-daughter relationship.
Holding up a mirror: Emily Davis writes on Scottee’s new performance ‘for’ middle class audiences.
“Sex is an exclamation mark”: Emily Davis writes on Louise Orwin’s startling exploration of female sexuality.
Take my hand: Emily Davis writes on Crystal Clear, an accessible but dated romance focusing on a partially-sighted couple.
The internet isn’t a choice anymore: Emily Davis crafts a gif-strewn response to Jasmine Lee-Jones’ extremely online debut play.
‘The political through the personal’: Emily Davis reviews Apphia Campbell’s Woke, which depicts five decades of civil rights struggles.
‘It makes my bones ache to watch’: Emily Davis writes on Ridiculusmus’ show exploring ageing.
‘Where is the danger coming from?’: Emily Davis reviews Tabitha Mortiboy’s new play, which explores the impact of the male gaze on a queer female relationship.
Not that innocent: Emily Davis reviews The Famous Lauren Barri Holstein’s piece devised with young people, exploring ‘the risky parameter between appropriate and explicit’.
‘The beauty and grace comes from performers making performance work (play) on their own terms’: Emily Davis writes on Ellie Dubois’ feminist deconstruction of circus.
‘The most millennial millennial’: Emily Davis writes on Bebe Sanders’ one woman show about an intergenerational friendship
And all that jazz: Emily Davis reviews Little Bulb’s metatheatrical take on the Orpheus myth, set in a 1930s jazz bar.