Beyond nostalgia: Alice Saville writes on a nuanced musical about a lost 1973 gay bar.
Take my hand: Emily Davis writes on Crystal Clear, an accessible but dated romance focusing on a partially-sighted couple.
Weather patterns: Rosemary Waugh writes on James Macdonald’s production of Tennessee Williams’ ‘messy, weird’ play.
Exeunt’s writers have some unashamedly petty bones to pick with theatre world’s biggest hits, past and present.
All budget, no splendour: Kate Wyver writes on a West End revival of Lloyd Webber’s beloved kids’ musical.
Pig-nosed whimsy: Alice Saville writes a poem in response to Hare’s firmly unpoetic rewrite of Ibsen’s verse drama.
Deciding for yourself: Amy Borsuk writes on Ben Weatherill’s tender, inclusive love story.
Divine designs: Hailey Bachrach writes on the visual splendour and religious themes of a slick take on Webber and Rice’s hit musical.
Casa Amour: Nkenna Akunna unearths Love Island parallels in Dominic Hill’s soapy Shakespeare update.
The internet isn’t a choice anymore: Emily Davis crafts a gif-strewn response to Jasmine Lee-Jones’ extremely online debut play.
‘Refreshingly unpolished’: Rachel Nouchi reviews Theatre Royal Stratford East and English National Opera’s production of Benjamin Britten’s biblically-inspired opera.
That wandering feeling: Ava Wong Davies writes on Jack Thorne’s meandering exploration of a family’s story.
‘A blistering and entertaining examination of the privilege of disengagement’: Brendan Macdonald writes on Gabriel Bisset-Smith’s semi-autobiographical play.
‘Depression is not poetic’: Hannah Greenstreet writes on Koko Brown’s show about depression, which combines spoken-word, vocal looping and BSL.
In the bedroom: Brendan Macdonald reviews Kenny Emson’s rule-bound new play exploring the dynamics of an affair.