From axis to axis: Verity Healey writes on the shifting social ties and inequalities of Gurpreet Kaur Bhatti.
Toxic legacies: Verity Healey writes on cycles of gendered violence in Anupama Chandrasekhar’s reimagining of Ibsen’s Ghosts.
People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.
‘Who has the freedom to force choices onto whom and why?’: Kate Hewitt’s new take on Stephen Adly Guirgis’s play questions the possibility of free will within the penal system, writes Verity Healey.
‘Sharp and witty’: Verity Healey reviews Kristine Landon-Smith’s production of Anouilh’s farce about a struggling orchestra in post-war France.
Verity Healey writes on Stephen Laughton’s new play, which explores the impact of an antisemitic attack on a relationship.
Swiss theatre director Milo Rau’s working methods let members of the public into the rehearsal room. Here, he tells Verity Healey why “community theatre IS theatre”.
Youth and age, past and future: Verity Healey reviews Vinay Patel’s new play about an Indian couple and their route to London via Kenya.
“Shouldn’t more plays be activist?” Verity Healey explores how shows including E15, My Country and Denmarked intersect with real-life protest movements.
Interrupting the cycle: Verity Healey reviews Stephen Daldry’s production of An Inspector Calls.
Verity Healey interviews the members of Riotous Company about their working methods, what makes British theatre different from the European mainstream, and their new performance, Scherzo for Piano and Stick.
Belarus Free Theatre’s newest performance Burning Doors tells the stories of three dissident artists, and stars Pussy Riot’s Maria Alyokhina. Verity Healey joined them in the rehearsal room to explore their incendiary creative process.
Dystopian drama: Verity Healey reviews Tess Berry-Hart’s depiction of the fight to leave a burning country.
“It gets you in the pit of your stomach.” Verity Healey reviews Conor Lovett’s performance as part of Beckett in London.
“Oppression lies at the heart”: Verity Healey reviews May Sumbwanyambe‘s debut play.