Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking
‘The most millennial millennial’: Emily Davis writes on Bebe Sanders’ one woman show about an intergenerational friendship
A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding’s ‘gentle and very different Christmas show’
Hailey Bachrach writes on the Menier’s wintry new staging of a musical that’s “by and for the kinds of Jews who want something to celebrate at Christmastime”.
Intrepid panto correspondent and newbie Londoner Rosemary Waugh reviews the bright lights of Jude Christian and Cariad Lloyd’s pantomime
Counting the cost of love: Lauren Mooney reviews Haley McGee’s ‘consistently hilarious and hypnotically honest’ solo show
‘Quiet and considered’: Frey Kwa Hawking reviews Jack McNamara’s production of Don DeLillo’s play about a man in a vegetative state
‘A spider’s web of complicity and guilt’: Ava Wong Davies writes about Anna Himali Howard’s theatrical investigation of the impact of colonialism on Antigua
‘a bit like being occasionally struck by lightning’: Frey Kwa Hawking writes on Made in China’s fast-talking new show.
The boy with the lyre: Alice Saville writes on Anais Mitchell’s infernal concept album-turned-musical.
‘Let’s talk about speaking’: Lauren Mooney writes on Sue MacLaine Company’s new show, inspired by the practice of Anchoritism.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.