There’s a “thrilling cumulative power” to Samuel Adamson’s Ibsen-inspired study of queer relationships through successive decades.
Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
‘Dogs are natural clowns’: Dog-person Henry Gleaden writes on Jacqueline Saphra’s monologue, told from the perspective of a family pet.
Untranslatable: Henry Gleaden writes on Jaha Koo’s melancholy performance about the personal impact of South Korea’s financial crisis.
‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play
Panto pedagogy: Hester Chillingworth’s pantomime ditches dodgy gags and tired tropes for a transpositive alternative.
Revolutionary acts: Henry Gleaden on Nadia Fall’s alarmingly current-feeling first show as AD at Theatre Royal Stratford East.
Flank, thigh and back: Henry Gleaden reviews Milly Thomas’s one-woman play about the aftermath of a suicide
An attempt to articulate: Henry Gleaden reviews Rachel Bagshaw and Chris Thorpe’s show about Complex Regional Pain Syndrome.
I’ve met these blokes before. Each of them a different type of man: Henry Gleaden responds to Boys at Vaults.
The pull of blood: Maud Dromgoole’s play explores the lives shaped by a very prolific sperm donor.