“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.
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.
“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.
Burgers and boxes: Emily Davis writes on Travis Alabanza’s solo show about trans experience and violence.
Casual cruelty: Martin McDonagh’s play mixes crude colonialist satire with the trappings of a family Christmas show.
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.
‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant
Spots of time: Josephine Balfour-Oatts reviews a visually evocative production of Nessah Muthy’s new play about caring for a relative with dementia
Graft, grit and glitter: Francesca Peschier writes on the shifting layers of Emma Rice’s retelling of Angela Carter’s story.
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.