Art, out of context: Frey Kwa Hawking writes on Jordan Tannahill’s look at queer sexuality and censorship in Renaissance Florence.
A bloodless revolution: Ava Wong Davies writes on Mike Bartlett and Tinuke Craig’s underpowered take on Gorky’s political satire.
Ava Wong Davies writes on Tristan Fynn-Aiduenu’s production of Arinzé Kene’s play about teenagers on the cusp of adulthood, which ‘fizzes and froths like a half-drunk bottle of Coke’.
Becoming universal: Maddy Costa writes on Danusia Samal’s new play, a ‘familiar, homely and true’ exploration of its characters’ tangled identities.
Teetering on the verge: Ava Wong Davies reviews Zawe Ashton’s poetic play exploring black women’s experiences of mental health issues.
The real deal: Ka Bradley writes on three dance pieces by Oona Doherty, exploring masculinity and working-class communities in Northern Ireland.
The tears of a clown: Ben Kulvichit writes on the poignant chaos of Forced Entertainment’s new show.
‘How far does self-awareness get us?’ Frey Kwa Hawking writes on Samuel Gallet’s metatheatrical skewering of the theatre industry.
‘Spit in my face’: Lily Levinson writes on Polly Wiseman’s new play that imagines a meeting between Valerie Solanas and Nico.
‘We’re already in the dirt’: Frey Kwa Hawking writes on Emma Frankland’s performance demolition of Ovalhouse, made with a company of transfeminine artists.
Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
‘What does it mean to write a play about race?’ Emily Davis writes on Cassiopeia Berkeley-Agyepong and Simone Ibbett-Brown’s knotty, metatheatrical play.
‘A quiet warning that it’s wise to believe women, even when doing so challenges your worldview’: Sally Hales writes on Katori Hall’s play about the visions of three Rwandan school girls.
‘The twitch of the familiar’: Ka Bradley writes on Boy Blue’s new dance piece exploring grief.
Emotive notes: Alice Saville responds to Dave Malloy’s passionate symphonic musical with a review in four movements.