Not-so-seriously spooky: Amy Borsuk writes on a witty, magic-trick filled take on Oscar Wilde’s ghost story.
Unexpected darkness: Frey Kwa Hawking writes on the troubling depths of a Broadway hit musical.
‘It looks like mending, in a way’: Lily Levinson writes on Abigail Boucher and Carolyn Defrin’s dance theatre performance exploring intimacy and activism.
Bear with me: Hannah Greenstreet writes on Eleanor Tindall’s fur-suited monologue about queer sexuality.
Caught in the web: Simon Gwynn writes on John Webber’s new play exploring male violence.
Wild waters: Frey Kwa Hawking writes on Daniel Bailey’s production of Chinonyerem Odimba’s play exploring friendship, motherhood and recovering from trauma.
“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.