‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
Kaleidoscopic haunting: Mert Dilek writes on Ellen McDougall’s dense adaptation of Valeria Luiselli’s spectral novel.
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.