As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
Kaleidoscopic haunting: Mert Dilek writes on Ellen McDougall’s dense adaptation of Valeria Luiselli’s spectral novel.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Eyes and ears: Catherine Love writes on attention and public space in response to Common Ground Theatre and Hannah Bruce’s audio collage.
Burial rites: Hannah Greenstreet writes on Lulu Raczka’s sensitive new version of Sophocles’ tragedy that focuses on its sisters.
Broken spokes: Simon Gwynn reviews Athena Stevens’ ‘amusing, provocative’ exploration of ‘the shit disabled people have to deal with day in, day out’.
Under the microscope: Brendan MacDonald writes on Sarah Gordon’s tender but familiar play about two lovers seeking closure.
Circus at the end of the world: Maddy Costa writes on Ockham Razor’s intergenerational aerial collaboration.
‘An avalanche of years’: Frey Kwa Hawking writes on Alexandra Wood’s naturalistic depiction of the relationships between sisters over forty years.
Glitz and glamour: Louise Jones reviews Le Gateau Chocolat and Jonny Woo’s loving lampooning of all things musical theatre.