‘It’s time to wank jubilantly with a cross’: Frey Kwa Hawking writes on Breach’s exuberant retelling of the sexual adventures of a 14th century nun.
Flights of fancy: Frey Kwa Hawking writes on a whimsical staging of the 2001 Parisian romcom.
‘Show me where you fit’: Frey Kwa Hawking writes on Bijan Sheibani’s new play exploring the reconnection of two brothers.
Unexpected darkness: Frey Kwa Hawking writes on the troubling depths of a Broadway hit musical.
Wild waters: Frey Kwa Hawking writes on Daniel Bailey’s production of Chinonyerem Odimba’s play exploring friendship, motherhood and recovering from trauma.
Art, out of context: Frey Kwa Hawking writes on Jordan Tannahill’s look at queer sexuality and censorship in Renaissance Florence.
‘How far does self-awareness get us?’ Frey Kwa Hawking writes on Samuel Gallet’s metatheatrical skewering of the theatre industry.
‘We’re already in the dirt’: Frey Kwa Hawking writes on Emma Frankland’s performance demolition of Ovalhouse, made with a company of transfeminine artists.
Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.
Say my name: Frey Kwa Hawking writes on Chiaroscuro, the last production in the Bush Theatre’s Passing the Baton series.
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.