Broken spokes: Simon Gwynn reviews Athena Stevens’ ‘amusing, provocative’ exploration of ‘the shit disabled people have to deal with day in, day out’.
‘The Twilight of its day’: Simon Gwynn writes on Paul Miller’s production of George Bernard Shaw’s ‘125-year-old rom com’.
Caught in the web: Simon Gwynn writes on John Webber’s new play exploring male violence.
“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.
Beat ’em up: Simon Gwynn writes on a pugnacious but uneven Tory party satire.
Alarming prophecies: Simon Gwynn writes a dystopian diary in response to Little Bulb’s show exploring Artificial Intelligence.
‘The stage starts to feel like a living entity’: Simon Gwynn reviews Omar Elerian’s deft production of Estelle Savasta’s play about child migration.
Simon Gwynn reviews Janet Suzman’s claustrophobic revival of Athol Fugard’s 1978 play, which explores ‘the personal toll of political events’.
Can I lick your face?: Simon Gwynn reviews Not Too Tame’s ‘raucous and gratifying reinvention of panto’.
Uncanny valley: David Hare’s satire of Labour politics might be set in the present day, but it belongs in another era.
Pleasure-seeking animals: Ben Okri’s play is a visceral, accessible take on Albert Camus’s existentialist classic.
Simon Gwynn reviews Spiral, a revised version of an earlier play that still may be tackling too much.
Generational differences: James Fritz’s play for the National Youth Theatre explores society’s attitudes towards the old.
Two in one: John Fitzpatrick’s play is both kitchen sink comedy and insightful study of social evolution.
Remains thoroughly caffeinated: Simon Gwynn reviews Philip Ridley’s new series of six monologues.