‘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.
Edges, borders, barbed wire: Cordelia Lynn’s bomb attack drama explores the ethics of keeping safe.
I’m ready to work: Hannah Greenstreet responds to a frenzied, feminist reimagining of Chekhov with a letter to its creators, RashDash.
Not all porn? Hannah Greenstreet reviews a revival of Sarah Daniels’ play about sexism and pornography