‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.
Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.
Ned Bennett’s subtle and physical production brings out ‘the sticky straw and steaming shit side of horses’, as represented in Peter Shaffer’s play, writes Rosemary Waugh.
‘Who has the freedom to force choices onto whom and why?’: Kate Hewitt’s new take on Stephen Adly Guirgis’s play questions the possibility of free will within the penal system, writes Verity Healey.
Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
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.