Come fly with me: Ava Wong-Daves and her 11-year-old niece team up to review Roland Schimmelpfennig’s insect-based show.
‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
“Existential crisis averted, for now”: Sally Hales writes on the welcome humour of Richard Jones’s take on Beckett.
‘A sugary surface with an achingly bitter aftertaste’: Ava Wong Davies writes on Oscar Toeman’s revival of Lucy Prebble’s play about chatrooms and an unlikely friendship.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
Kaleidoscopic haunting: Mert Dilek writes on Ellen McDougall’s dense adaptation of Valeria Luiselli’s spectral novel.
Burial rites: Hannah Greenstreet writes on Lulu Raczka’s sensitive new version of Sophocles’ tragedy that focuses on its sisters.
Broken spokes: Simon Gwynn reviews Athena Stevens’ ‘amusing, provocative’ exploration of ‘the shit disabled people have to deal with day in, day out’.
Under the microscope: Brendan MacDonald writes on Sarah Gordon’s tender but familiar play about two lovers seeking closure.
Circus at the end of the world: Maddy Costa writes on Ockham Razor’s intergenerational aerial collaboration.
‘An avalanche of years’: Frey Kwa Hawking writes on Alexandra Wood’s naturalistic depiction of the relationships between sisters over forty years.
“Yes, it’s a Brexit play”: Ava Wong Davies writes on the warm-hearted bluntness of Mike Bartlett’s story of intergenerational conflict.