Fairies like piñatas: Frey Kwa Hawking writes on Sean Holme’s technicolour Shakespeare explosion.
No place like home: Frey Kwa Hawking reviews Nancy Medina’s revival of Caryl Phillips’ family drama.
Nyla Levy’s play about the radicalisation of a teenage girl captures ‘the weirdly skewed sense of the scale of things you have as a young person’, writes Frey Kwa Hawking.
Pastel nightmares: Frey Kwa Hawking writes on a riotous exploration of skin-lightening and prejudice.
Sure-of-itself smoothness: Frey Kwa Hawking writes on Small Island, and Rufus Norris’s cinematic approach to staging Andrea Levy’s migration narrative.
Christopher Adam’s new play Tumulus is ‘swift, stomach-dropping swoop into noir’ investigating chemsex culture, writes Frey Kwa Hawking.
A moral swamp: Frey Kwa Hawking infiltrates a far right organisation as part of a tense immersive experience.
Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal’s ‘irreverent and feral’ adaptation of Wolfram Lotz’s radio play about colonialism.
‘Rich people acting out their little dramas’: Frey Kwa Hawking writes on Sleepwalk Collective’s final show in their Kardashian trilogy, a deconstructed, live-art opera.
“A long, slow slide into horror after horror” – Frey Kwa Hawking writes on Nicôle Lecky’s narrative of a young woman suffocated by anxieties.
‘Theatre that refuses to form an orderly queue’: Frey Kwa Hawking reviews Borderline’s playful satire of the UK’s labyrinthine immigration system.
‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.
Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.
Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking
A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding’s ‘gentle and very different Christmas show’