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.
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.