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.
‘The stage starts to feel like a living entity’: Simon Gwynn reviews Omar Elerian’s deft production of Estelle Savasta’s play about child migration.
Messy divorce: Rachel Nouchi reviews Kellie Smith’s ‘painfully funny’ new play about parental separation.
‘A boiling down of the complex and beautiful into something more prosaic’: Lauren Mooney writes on a musical adaptation of the cult film about a dysfunctional family road trip.
Black feathers on your pillow: Hannah Greenstreet writes on Enda Walsh’s scratchy, crow-filled exploration of mourning.
‘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.