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.
The lights are up: Rosemary Waugh reviews Robert Icke’s illuminating reimagining of Ibsen’s play.
Spots of time: Josephine Balfour-Oatts reviews a visually evocative production of Nessah Muthy’s new play about caring for a relative with dementia
Same old story: Nina Raine’s play ends up reaffirming a depressingly familiar set of stereotypes about childless women.
Punching up: Joy Wilkinson’s play is an exhilarating trip into an imagined world of Victorian women’s boxing.
‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance