‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
Splash splosh: Naomi Obeng reviews Reckless Sleepers’ inviting, restless, weather-themed children’s show.
‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]
‘Yeah, humans be like that’: Naomi Obeng on the complexities of Janice Okoh’s time-hopping play about Empire and its legacy.
‘Why and when did the other side stop Rocking Against?’: Naomi Obeng on music and activism in Middle Child’s new show about the Rock Against Racism movement.
‘What about the Struggle’: Naomi Obeng writes a poetic response to Kemp Powers’ imagined account of the meeting of Malcolm X, Cassius Clay, Jim Brown and Sam Cooke.
Emotionally invested: Naomi Obeng writes on a stage adaptation of a childhood favourite which ‘plainly plays with magic’.
Working it out: Naomi Obeng reviews Luca Rutherford’s solo show in two parts – a written response, and an audio recording made immediately after the performance.
Naomi Obeng encounters transformation, an intergalactic mission, bingo, and tons of exciting new performance at Cambridge Junction’s one day fest.
Dancing around the periphery: there’s a compelling story lurking somewhere in Selina Fillinger’s debut play.
Naomi Obeng reports back from National Student Drama Festival’s collective conversations on how to make spaces fairer, more accessible, and more representative.
Queens of Crime: this music hall melodrama eschews subtlety and sensitivity.
“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.
Drama that fills out history: Naomi Obeng reviews Tanika Gupta’s new play about the fight for Indian Independence.