“Get ready to get wet.” Freddie Machin reviews a bath-themed circus show
Awe-inspiring noise: Lilith Wozniak reviews a four and a half hour triple bill of spoken word and intense sounds from Chris Brett Bailey.
Clam jam: Izzy Tennyson’s play is a grimy, intriguing look at Dalston’s lesbian party scene.
Tongued into submission: Francesca Peschier tries to put the joy of Chris Brett Bailey’s solo set into words.
Keeping quiet: no-one talks to each other in Mike Bartlett’s powerful and poignant first play.
Francesca Peschier reviews Hideki Noda’s “utterly bizarre gender-bending kaleidoscopic piece of work”.
Hydraulic elegance: Anna Winter reviews Balletboyz and their programme of four works created in fourteen days.
Ramps on the Moon’s Deaf and disabled-led revision of a classic doesn’t go far enough, writes Amelia Cavallo.
Not all porn? Hannah Greenstreet reviews a revival of Sarah Daniels’ play about sexism and pornography
An all too real horror story: Ka Bradley reviews DeNada Dance Theatre’s radical rewrite of the famous fairytale
A humanist affair: Frey Kwa Hawking reviews Dom Coyote’s new solo work
Abstract and emotionally rich: Ka Bradley reviews a double bill of new dance works ‘A Night’s Game’ and ‘TERRA’
From death to rebirth: Lee Anderson reviews Marion Bott’s new play about modern life in Berlin. [CW: Suicide]
The mysteries of love: Hailey Bachrach reviews Matthew Lyons’ puzzling, Shakespeare-inspired verse romance.
Going for a dip: Sarah Milton’s solo show dives deep into one woman’s relationship with swimming.