The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.
‘A sharp, metallic taste you’re not expecting’: Ben Kulvichit writes on strangeness and power in the Yard’s double-bill of live art by Tim Spooner & Tom Richards and Ira Brand.
Sweating the small stuff: Sally Hales reviews Rose Lewenstein’s new play, which explores climate change through an intimate depiction of a relationship.
‘Believing deep down that things are, should be, can be fair’: Hailey Bachrach reviews Cressida Brown’s production of a new take on the high-flying myth.
“A long, slow slide into horror after horror” – Frey Kwa Hawking writes on Nicôle Lecky’s narrative of a young woman suffocated by anxieties.
‘Sharp and witty’: Verity Healey reviews Kristine Landon-Smith’s production of Anouilh’s farce about a struggling orchestra in post-war France.
‘Meticulous in depicting the reality of being a body dependent on another body to care for it’: Rosemary Waugh writes on Martyna Majok’s ‘painstakingly realistic’ play.
‘demonstrating how hard true understanding – of both oneself and of another – is to achieve’: Kate Wyver writes on the NOW Festival Week 3 double bill.
Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.
The author of ‘Everywoman’ at Vault Festival writes on her decision to remain anonymous, and on how gender influences ideas of what counts as a ‘universal’ story.
‘Brutally sincere’: Ava Wong Davies writes on the Yard’s double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.
‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.
The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.
‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.