‘Jagged flashes of the hyperreal’: Hannah Greenstreet reviews Sarah Kosar’s new play, which explores a woman’s complicated relationship with guns.
Chaos magic: Ka Bradley writes on Stefan Jovanović’s confusing, genre-blurring queer dance piece.
Knights at the circus: Rachel Nouchi reviews Cheek by Jowl and Moscow Pushkin Theatre’s take on Francis Beaumont’s early modern meta-comedy.
There’s a “thrilling cumulative power” to Samuel Adamson’s Ibsen-inspired study of queer relationships through successive decades.
“A snapshot of life”: J N Benjamin writes on August Wilson’s multi-faceted interrogation of Black American life in 1985 Pittsburgh.
Shipshape hilarity: Ed Nightingale reviews SpitLip’s WWII entirely entertaining comedy-musical.
Kate Wyver writes on Bella Heesom’s (pubic) hair-raisingly literal exploration of all things vulval.
‘I have never enjoyed a single opera I have ever seen’: JN Benjamin writes on English National Opera and the Unicorn’s production of Dido for young audiences.
Caring ‘for the complexity of social interconnection’: Maddy Costa writes on Human Jam, which excavates the impact of HS2 on Camden.
‘It makes my bones ache to watch’: Emily Davis writes on Ridiculusmus’ show exploring ageing.
Liberal tragedy: Hannah Greenstreet reviews Jude, ‘a stylistically muddled’ take on Thomas Hardy’s Jude the Obscure.
‘Where is the danger coming from?’: Emily Davis reviews Tabitha Mortiboy’s new play, which explores the impact of the male gaze on a queer female relationship.
Christopher Adam’s new play Tumulus is ‘swift, stomach-dropping swoop into noir’ investigating chemsex culture, writes Frey Kwa Hawking.
‘Repeated motions that create, segment by segment, a single monumental achievement’: Ka Bradley writes on English National Ballet’s triple-bill of work by female choreographers.
‘Dogs are natural clowns’: Dog-person Henry Gleaden writes on Jacqueline Saphra’s monologue, told from the perspective of a family pet.