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.
New writing, old tropes: Hannah Greenstreet reviews an overly reverent backward-looking take on the story of formidable literary agent Peggy Ramsay.
Spooky season: Elete N-F writes on Poltergeist’s audio-guided narrative walk that ‘brings life to an otherwise pretty lifeless area’.
A celebration of the community of Brent: Elete N-F writes on Zadie Smith’s ‘joyous’ contemporary adaptation of The Wife of Bath.
‘I find myself wishing that this production excavated some deeper weirdness’: Frey Kwa Hawking writes on Young Jean Lee’s 2014 play exploring white privilege.
Lasting impressions: Farah Najib writes on Lanre Malaolu’s ‘joyful and hard-hitting’ choreographic interrogation of Black masculinity.
A difficult birth: Emily Davis writes on Mathilde Dratwa’s ‘playful and confident’ new play that brings together the personal and the political in the Trump era.
Talking therapy: Miriam Sallon writes on Ifeyinwa Frederick’s new play that explores masculinity and depression.
‘Thick realism’: Mert Dilek writes on Roxana Silbert’s dated revival of Marsha Norman’s ‘grim suicide drama’.