‘A play in which nothing happens, once’: Freddie Machin reviews Theater Artemis’ absurdist show for young people.

‘The actors flounder about in the bagginess of the space’: JN Benjamin writes on Ella Road’s dystopian play exploring the ethics of biotechnology.

‘An urgent howl of social responsibility’: Hannah Greenstreet reviews Ross Willis’ magical realist new play about twins in the care system.

‘Pulled out of the gut, steaming and red and alive’: Ava Wong Davies writes a response to Rachel De-Lahay and Milli Bhatia’s festival of letters, which engages with racial tensions and white privilege.

Finding their voices: Annegret Märten writes on BAC Beatbox Academy’s joyful reimagining of Mary Shelley’s novel.

The world of the play ‘spins off its axis and crashes into ours’: Nabilah Said writes to her penpal about Matthew Xia’s production of Athol Fugard’s anti-apartheid play.

Not that innocent: Emily Davis reviews The Famous Lauren Barri Holstein’s piece devised with young people, exploring ‘the risky parameter between appropriate and explicit’.

Simon Gwynn reviews Janet Suzman’s claustrophobic revival of Athol Fugard’s 1978 play, which explores ‘the personal toll of political events’.

‘What kind of nation have we created?’: Amy Borsuk reviews Adjoa Andoh and Lynette Linton’s ‘landmark’ production of Shakespeare’s history play.

Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal’s ‘irreverent and feral’ adaptation of Wolfram Lotz’s radio play about colonialism.

‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.

Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.

‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.

Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.