The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.
‘A sharp, metallic taste you’re not expecting’: Ben Kulvichit writes on strangeness and power in the Yard’s double-bill of live art by Tim Spooner & Tom Richards and Ira Brand.
Sweating the small stuff: Sally Hales reviews Rose Lewenstein’s new play, which explores climate change through an intimate depiction of a relationship.
‘Believing deep down that things are, should be, can be fair’: Hailey Bachrach reviews Cressida Brown’s production of a new take on the high-flying myth.
‘Sharp and witty’: Verity Healey reviews Kristine Landon-Smith’s production of Anouilh’s farce about a struggling orchestra in post-war France.
‘Meticulous in depicting the reality of being a body dependent on another body to care for it’: Rosemary Waugh writes on Martyna Majok’s ‘painstakingly realistic’ play.
‘demonstrating how hard true understanding – of both oneself and of another – is to achieve’: Kate Wyver writes on the NOW Festival Week 3 double bill.
The author of ‘Everywoman’ at Vault Festival writes on her decision to remain anonymous, and on how gender influences ideas of what counts as a ‘universal’ story.
‘Brutally sincere’: Ava Wong Davies writes on the Yard’s double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.
‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.
The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.
‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.
‘Something strange and wild emerges from familiar architecture’: Lauren Mooney reviews Annie Jenkins’ impressive debut play about female friendship.
‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play