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.
Dissonance and vocal fry – Hannah Greenstreet on a performance that explores gendered speech.
Patties of human flesh: Hannah Greenstreet can’t get the smell of cooking meat out of her nostrils after Sarah Kosar’s “visceral, disgust-provoking” two-hander.
How did you get your scar? Hannah Greenstreet reviews a new play about Yarlswood Immigration Removal Centre.
Add a cupboardful of theatrical tropes: Hannah Greenstreet writes a recipe review of Steve Rogers’ play, which is set in a takeaway.