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.
Artist Nick Field is bringing two new shows to CPT. He chats to Hannah Greenstreet about neoliberalism, Tom Baker, and making work that’s “pretty damn queer”.
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.