‘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.

‘Sharpness and spikiness’: Tracey Sinclair reviews Katie Arnstein’s nostalgia-laced debut show about a feminist coming-of-age.

Who cares?: Tracey Sinclair reviews John McKenna’s theatrical enquiry into Northern Ireland’s political landscape.

Privatisation and private moments: Tracey Sinclair reviews a double bill of plays addressing hot social issues as part of Live Theatre’s Elevator Festival for new work.

‘Freed from traditional confines’: Tracey Sinclair, self-proclaimed ‘dance ignoramus’, reviews a double bill from BalletBoyz.

‘Alan Bennett with funkier hair’: Tracey Sinclair reviews a one-man show about political factionalism and punk music at Live Theatre’s Elevator Festival.

Taking it seriously: Tracey Sinclair reviews David Edwards’ demystifying verbatim show about the realities of living with OCD.

Mining the past: Tracey Sinclair writes on the nuanced portrayal of a ‘fragile ecosystem’ of men in Beth Steel’s mining drama.