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’
As Brexit looms, a series of live art parties are creating space to explore multicultural LGBT+ experiences.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
‘Quiet and considered’: Frey Kwa Hawking reviews Jack McNamara’s production of Don DeLillo’s play about a man in a vegetative state
‘a bit like being occasionally struck by lightning’: Frey Kwa Hawking writes on Made in China’s fast-talking new show.
‘An offering to just a few of those that history missed out’: Frey Kwa Hawking reviews Daniel York Loh’s new play about the Chinese Labour Corps.