Hannah Greenstreet on the “unforced relevance” of an immersive reimagining of Elizabeth Inchbald’s 1792 play.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.
Both hypervisible but invisible: Hannah Greenstreet reviews a set of nine monologues by Muslim women from across the world.
Beyond bullshit stereotypes: Hannah Greenstreet on Milk Presents’ gender fluid reimagining of the Minotaur myth.
Hannah Greenstreet reviews What if the plane falls out of the sky?, The Soft Subject, and A Super Happy Story (About Feeling Super Sad) at the Edinburgh Fringe 2017.
Wonderfully offbeat and political: Hannah Greenstreet on Sisters Grimm’s queer-feminist satire of nationalism and colonialism.
A mainstream crossover hit – or is it? Hannah Greenstreet on Sh!t Theatre’s Dolly Parton-inspired show.
Hannah Greenstreet reviews Futures Theatre’s passionate celebration of women’s football.
How do you mourn someone you have never met? – Hannah Greenstreet reviews Selina Thompson’s powerful interrogation of the legacy of slavery.
Puzzling but enjoyable: Hannah Greenstreet on Antler’s bouncing tragi-comedy.
Watching through my fingers – Hannah Greenstreet on Milly Thomas’s new plays and theatre’s duty of care.
“A surprisingly tender theatrical experiment”: Hannah Greenstreet reviews YESYESNONO’s exploration of intimacy.
Lyrical, joyous and vital – Hannah Greenstreet on the National Theatre of Scotland’s two stories about trans experience.
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
Monica Dolan’s one woman show is a deliberately un-sensationalised exploration of how children are sexualised.