Teetering on the verge: Ava Wong Davies reviews Zawe Ashton’s poetic play exploring black women’s experiences of mental health issues.
The real deal: Ka Bradley writes on three dance pieces by Oona Doherty, exploring masculinity and working-class communities in Northern Ireland.
The tears of a clown: Ben Kulvichit writes on the poignant chaos of Forced Entertainment’s new show.
‘How far does self-awareness get us?’ Frey Kwa Hawking writes on Samuel Gallet’s metatheatrical skewering of the theatre industry.
‘Spit in my face’: Lily Levinson writes on Polly Wiseman’s new play that imagines a meeting between Valerie Solanas and Nico.
‘We’re already in the dirt’: Frey Kwa Hawking writes on Emma Frankland’s performance demolition of Ovalhouse, made with a company of transfeminine artists.
Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
‘What does it mean to write a play about race?’ Emily Davis writes on Cassiopeia Berkeley-Agyepong and Simone Ibbett-Brown’s knotty, metatheatrical play.
‘A quiet warning that it’s wise to believe women, even when doing so challenges your worldview’: Sally Hales writes on Katori Hall’s play about the visions of three Rwandan school girls.
‘The twitch of the familiar’: Ka Bradley writes on Boy Blue’s new dance piece exploring grief.
Emotive notes: Alice Saville responds to Dave Malloy’s passionate symphonic musical with a review in four movements.
“Get in, losers, we’re going capital-W Weird”: Ava Wong Davies writes on Lisa D’Amour’s startling, dreamlike story of female adolescence.
Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.
“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.
‘A whirling, inescapable funhouse of micro and macroaggressions’: Ava Wong Davies writes on Tanika Gupta’s new adaptation of Ibsen’s play, relocated to colonial India.