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.
“Yes, it’s a Brexit play”: Ava Wong Davies writes on the warm-hearted bluntness of Mike Bartlett’s story of intergenerational conflict.
Pain and prayer: Hannah Greenstreet writes on Matilda Ibini’s witty, moving coming of age story.
Thrusting hope in our faces: Lily Levinson writes on watching Pecs Drag Kings’ Christmas show on election night.
‘It’s time to wank jubilantly with a cross’: Frey Kwa Hawking writes on Breach’s exuberant retelling of the sexual adventures of a 14th century nun.
Revelling in mess: Emily Davis writes on Ell Potter and Mary Higgins’ exploration of masculinity and their relationship to it.
A howl of despair: Maddy Costa writes on Leah Shelton’s latex-clad, lipsync take on the myth of Pandora’s box.
‘It resembles an affably deranged birthday party’: Mert Dilek writes on Kneehigh’s riotous adaptation of Alfred Jarry’s Ubu Roi.
‘A glimpse of what the world could look like if everything were simpler and the people were kinder’: Emily Davis wells up at Hackney Empire’s Windrush-inspired pantomime.
‘A stumble off the path, into a crack in the ground’: Emily Davis writes on a new adaptation of Knut Hamsun’s book and the politics of the decision to programme it.
An incoherent world: Hailey Bachrach writes on an episodic staging of Elena Ferrante’s wildly successful bestsellers.