“A duet of reluctance and pleasure”: Hannah Greenstreet writes on Tim Crouch’s delicate book-based interactive performance.
True crimes: Hannah Greenstreet writes on a show that attempts to examine why women are drawn to serial killer stories.
Crackpot theories: Hannah Greenstreet writes on Barrel Organ’s devised, sketchy look at post-truth logic.
All in my head: Hannah Greenstreet writes on Kit Redstone’s exploration of living with multiple personalities.
Are we really post-feminism? Hannah Greenstreet writes on an irony-heavy exploration of the plight of men.
Sisterly love: Hannah Greenstreet writes that Charley Miles’ sibling narrative rings true.
Do you really see me? Hannah Greenstreet writes on The Queer House’s double bill of autobiographical performances.
Jet set go: Hannah Greenstreet writes on Stef Smith’s narrative of two air hostesses whose friendship is in flux.
“Call me Daddy”: Hannah Greenstreet writes on Leyla Josephine’s drag king show about fatherhood.
Full-on horror: Hannah Greenstreet writes on Meghan Tyler’s narrative of two vengeful sisters in Northern Ireland.
Tea and sibling rivalry: Miss Cackle and Miss Hardbroom – aka Alice Saville and Hannah Greenstreet – report on Cackle’s Academy’s school production.
‘Depression is not poetic’: Hannah Greenstreet writes on Koko Brown’s show about depression, which combines spoken-word, vocal looping and BSL.
‘Jagged flashes of the hyperreal’: Hannah Greenstreet reviews Sarah Kosar’s new play, which explores a woman’s complicated relationship with guns.
Liberal tragedy: Hannah Greenstreet reviews Jude, ‘a stylistically muddled’ take on Thomas Hardy’s Jude the Obscure.
“If Caryl Churchill can’t have a large cast, who can?”: Hannah Greenstreet’s tripartite response to Top Girls explores its place in the theatre canon.