We’ll meet again: Lily Levinson writes on Kandinsky’s new show, which thoughtfully explores ‘the bleak dangers of nostalgic nationalism’.
Let there be light: Hannah Greenstreet reviews Alistair McDowall’s dazzling new play.
Talking cure: Brendan Macdonald reviews a new production of Mark St Germain’s play that imagines an encounter between Sigmund Freud and Lewis Carroll.
Anxieties of authorship: Brendan Macdonald writes on Kate Reid’s play, which explores representations of Northern Ireland through ‘an engaging and poignant drama’.
‘A warm twinkle and touches of wonder’: Lily Levinson writes on Theatre Re’s ensemble fairytale.
A soaring voice: Emily Davis writes on Nell Leyshon’s new play that captures ‘how it feels to sing and love singing’ through the history of folk songs.
‘A heady, carousing festive fantasy’: Brendan Macdonald reviews Taylor Mac’s virtual vaudeville.
One last job: Lilith Wozniak reviews The Wardrobe Ensemble’s Christmas show mixing English folklore and heist movie.
Gig economy, gig theatre: Lauren Vevers reviews an DIY, punk Christmas show taking aim at zero-hour work.
New writing, old tropes: Hannah Greenstreet reviews an overly reverent backward-looking take on the story of formidable literary agent Peggy Ramsay.
Head to head: Louise Jones compares two York pantos following legendary dame Berwick Kaler’s split from York Theatre Royal.
Spooky season: Elete N-F writes on Poltergeist’s audio-guided narrative walk that ‘brings life to an otherwise pretty lifeless area’.
Vroom vroom: Fergus Morgan reviews James Ley’s X-rated comedy about a man who rides his car in more ways than one.
Devoted to the devil: James Varney invokes David Greig’s midwinter folk story with a crown of sonnets.
‘There is a kind of pleasure in judging other people’: Hannah Greenstreet writes on Mike Bartlett’s monologue exploring social mores in lockdown.