“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.
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.