Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
Feedback loops: Rosana Cade and Ivor MacAskill’s show is a surreal exercise in repetition.
WHITE is a well-crafted and nuanced interrogation of ‘the mixed-race experience.’
‘Manipulate is not quite the right word…’: Hannah Greenstreet is left confused by James Rowland’s new show.
A modernist odyssey: Hannah Greenstreet writes on La JohnJoseph’s lyrical solo show.
Bloody funny: Hannah Greenstreet writes on a comic monologue about a female psychopath.
Can we talk about #metoo plays? Hannah Greenstreet reviews a play exploring sexual abuse in Hollywood.
The contemporary confessional: Hannah Greenstreet reviews Claire Gaydon’s Youtuber show.
A chorus and a sisterhood: Hannah Greenstreet on Nouveau Riché’s poetic exploration of misogynoir.
Gentle and gently devastating: Hannah Greenstreet writes on Jessica Butcher’s exploration of a mother-daughter relationship.
What Girls Are Made Of looks back on a teenage brush with stardom with adult wisdom and a 90s soundtrack.
Hannah Greenstreet writes on Lydia Larson’s hilarious monologue about “the fantasy lives we build to survive”.
Visual richness: Hannah Greenstreet writes on the images of Breach Theatre’s show, which dramatises the story of baroque painter Artemisia Gentileschi.
Pickle Jar is a one-woman show about rape culture, grief, and misplaced guilt.
Warning: this review explodes. Hannah Greenstreet grapples with Rory Mullarkey’s new play.