‘A stumble off the path, into a crack in the ground’: Emily Davis writes on a new adaptation of Knut Hamsun’s book and the politics of the decision to programme it.
Imagining a future: Maddy Costa writes on Danish theatre company Fix & Foxy’s ‘materially sparse, philosophically expansive’ show.
A rallying cry for freedom of the press: Brendan MacDonald writes on the stage adaptation of journalist Can Dündar’s account of his imprisonment.
‘a steady throb like the sound of your heart beat in the bath’: Lily Levinson writes on Ava Wong Davies’ lyrical exploration of a relationship between a daughter and her estranged mother.
Not-so-seriously spooky: Amy Borsuk writes on a witty, magic-trick filled take on Oscar Wilde’s ghost story.
‘It looks like mending, in a way’: Lily Levinson writes on Abigail Boucher and Carolyn Defrin’s dance theatre performance exploring intimacy and activism.
Bear with me: Hannah Greenstreet writes on Eleanor Tindall’s fur-suited monologue about queer sexuality.
Caught in the web: Simon Gwynn writes on John Webber’s new play exploring male violence.
Wild waters: Frey Kwa Hawking writes on Daniel Bailey’s production of Chinonyerem Odimba’s play exploring friendship, motherhood and recovering from trauma.
“Time goes really weird”: Eve Allin and Ava Wong Davies conduct a voice notes dialogue on the mess, mayhem and impenetrable moments of Figs in Wigs’ new show.
Teetering around the edges: Emily Davis writes on Rachel Mars and Greg Wohead’s exploration of plot holes and holes in the walls.
‘Political theatre at its finest’: JN Benjamin writes on Samuel Bailey’s exploration of empathy, set in a young offenders’ institution.
Toxic legacies: Verity Healey writes on cycles of gendered violence in Anupama Chandrasekhar’s reimagining of Ibsen’s Ghosts.
Pass it on: Lily Levinson writes on Natalie Mitchell’s kind-hearted play about OCD and teen relationships.
Art, out of context: Frey Kwa Hawking writes on Jordan Tannahill’s look at queer sexuality and censorship in Renaissance Florence.