‘A spider’s web of complicity and guilt’: Ava Wong Davies writes about Anna Himali Howard’s theatrical investigation of the impact of colonialism on Antigua
‘a bit like being occasionally struck by lightning’: Frey Kwa Hawking writes on Made in China’s fast-talking new show.
The boy with the lyre: Alice Saville writes on Anais Mitchell’s infernal concept album-turned-musical.
‘Let’s talk about speaking’: Lauren Mooney writes on Sue MacLaine Company’s new show, inspired by the practice of Anchoritism.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.
Suspicious stains: Martin Crimp’s unsettling 1988 play picks away at a real estate-selling couple’s hypocrisy and greed.
The living dead: Hailey Bachrach writes on Rafaella Marcus’ new production of Irwin Shaw’s ‘strange, spiky’ WW1 play.
Feedback loops: Rosana Cade and Ivor MacAskill’s show is a surreal exercise in repetition.
More than teenage drama: Hailey Bachrach writes on Sarah DeLappe’s hyper-naturalistic story of a teenage girls’ soccer team.
Burgers and boxes: Emily Davis writes on Travis Alabanza’s solo show about trans experience and violence.
A spreading bruise: Alice Saville writes on Lies Pauwels’ participatory exploration of dealing with emotional pain.
‘An offering to just a few of those that history missed out’: Frey Kwa Hawking reviews Daniel York Loh’s new play about the Chinese Labour Corps.