Both hypervisible but invisible: Hannah Greenstreet reviews a set of nine monologues by Muslim women from across the world.
Requardt and Rosenberg’s Deadclub “clashes a children’s party with the ticking timebomb of our own inevitable demise”.
“Too long forgotten”: Amy Borsuk reviews the London transfer of Alice Childress’s play.
From self-aware 90s moshing to hastily resolved first sex: Sally Hales reviews a coming-of-age story set in the Scottish Highlands.
“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
Beyond bullshit stereotypes: Hannah Greenstreet on Milk Presents’ gender fluid reimagining of the Minotaur myth.
Pop the kettle on: Brendan Macdonald reviews Alice Hamilton’s revival of David Storey’s family drama.
Shot through with nervous, defiant ecstasy: Ka Bradley reviews Hofesh Shechter’s new work based on the apocalypse.
What does it take to become invisible? B. L. Sherrington reviews a stage adaptation of Ralph Ellison’s novel as part of Certain Blacks Harlem Festival.
Trying to be big and brilliant: Miriam Gillinson reviews Christopher Shinn’s new play about a tech billionaire on a mission.
The witch’s rumspringa: Brendan Macdonald reviews the return of Kiki’s Delivery Service to the Southwark Playhouse.
Simon Gwynn reviews Abigail Hood’s new play about childhood abuse and running away from home.
Lost amongst the swarm: Ka Bradley reviews an ‘enigmatic and complex’ new work by Wayne McGregor.
Mind the fake blood and bring cash for the bar: Ka Bradley reviews the latest show from Secret Studio Lab based on [redacted].
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.