“Time goes really weird”: Eve Allin and Ava Wong Davies conduct a voice notes dialogue on the mess, mayhem and impenetrable moments of Figs in Wigs’ new show.
Teetering around the edges: Emily Davis writes on Rachel Mars and Greg Wohead’s exploration of plot holes and holes in the walls.
‘Political theatre at its finest’: JN Benjamin writes on Samuel Bailey’s exploration of empathy, set in a young offenders’ institution.
“A surface-level solution”:Amy Borsuk finds that a gender-swap doesn’t fix the problems posed by Shakespeare’s play.
Endless spirals: Alice Saville writes on the looping, time-bending world of Annie Baker’s interrogation of storytelling.
‘The plot has aged like milk’: Ava Wong Davies creates a mixtape review in response to the musical adaptation of Nick Hornby’s novel about an ‘insufferable music snob’.
Toxic legacies: Verity Healey writes on cycles of gendered violence in Anupama Chandrasekhar’s reimagining of Ibsen’s Ghosts.
Pass it on: Lily Levinson writes on Natalie Mitchell’s kind-hearted play about OCD and teen relationships.
A difficult woman: Hannah Greenstreet writes on the too-familiar tropes exposed in Clare Barron’s narrative of love and ballet.
Rose Johnstone writes on the dog jokes and righteous fury of Hannah Gadsby’s new show, “Nanette’s even more rebellious and revolutionary sister”.
Art, out of context: Frey Kwa Hawking writes on Jordan Tannahill’s look at queer sexuality and censorship in Renaissance Florence.
A bloodless revolution: Ava Wong Davies writes on Mike Bartlett and Tinuke Craig’s underpowered take on Gorky’s political satire.
Ava Wong Davies writes on Tristan Fynn-Aiduenu’s production of Arinzé Kene’s play about teenagers on the cusp of adulthood, which ‘fizzes and froths like a half-drunk bottle of Coke’.
Becoming universal: Maddy Costa writes on Danusia Samal’s new play, a ‘familiar, homely and true’ exploration of its characters’ tangled identities.
“We’re good people right?” – Rosemary Waugh writes on the normal people of Duncan Macmillan’s climate change play.