Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.
We dreamed a dream: Exeunt’s writers imagine a takeover of London’s creakiest, most storied theatres.
Suspicious stains: Martin Crimp’s unsettling 1988 play picks away at a real estate-selling couple’s hypocrisy and greed.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
“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.