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.
Black feathers on your pillow: Hannah Greenstreet writes on Enda Walsh’s scratchy, crow-filled exploration of mourning.
‘An urgent howl of social responsibility’: Hannah Greenstreet reviews Ross Willis’ magical realist new play about twins in the care system.
As Emilia hits the West End, Hannah Greenstreet and Amy Borsuk discuss its metatheatricality, its Jewish parallels, its role as feminist historical fiction, and more.
‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.
The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.
Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.
A reckoning: Mark Ravenhill’s new play is a naturalistic, troubling exploration of history and abuses of power.