Same old story: Tracey Sinclair writes on an ‘impressively slick’ solo show which falls into the trap of giving oxygen to its narrator’s toxic outlook.

Unravelling grief: Tracey Sinclair reviews a touring production from Graeae of Winsome Pinnock’s play unspooling a tragic event.

Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.

Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.

High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.

‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.

Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.

Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.

‘Cheekiness and verve’: Tracey Sinclair reviews Melody Sproates’ debut show, an entirely lip-synced exploration of life as a young non-binary person.

‘Sharpened like a blade’: Tracey Sinclair reviews an intimate, impromptu-feeling revival of John McGrath’s landmark play.

‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.

Stark reminder: Tracey Sinclair writes on Abbot Dance Theatre’s commemoration of the women’s suffrage movement.

‘A magic box of delights’: Tracey Sinclair reviews Frozen Light’s tactile, sensory show for audiences with profound and multiple learning disabilities.