The question of ownership: Frey Kwa Hawking reviews Debris Stevenson’s autobiographical ode to grime.
A frozen horizon: Josephine Balfour-Oatts writes on a dance-theatre piece about life on a remote lighthouse.
A modern take on an old story: Nabilah Said reviews Nessah Muthy’s version of One Thousand and One Nights.
Excruciating silences: Peter Brook’s drama is an exercise in painfully slow abstraction.
Nothing else on stage other than her pain: William Drew reviews Jean Cocteau’s end-of-a-realtionship monologue.
WARNING: Hailey Bachrach writes on an unpredictable look at amnesia by young international collective JAMS.
Village politics made mighty: Frey Kwa Hawking reviews Matt Hartley’s new play set in a Derbyshire plague village.
Document open, review jump out… Nabilah Said reviews Polarbear’s one-man show about how to tell a story.
Wine, dine, smash the gender binary: Freddie Machin on Shotgun Carousel’s Bacchic dinner-theatre experience.
Pleasure-seeking animals: Ben Okri’s play is a visceral, accessible take on Albert Camus’s existentialist classic.
Revolutionary acts: Henry Gleaden on Nadia Fall’s alarmingly current-feeling first show as AD at Theatre Royal Stratford East.
The beauty of brotherhood: J N Benjamin reviews the stage adaptation of Chigozie Obioma‘s novel.
Nabilah Said’s twin cinema review of Arinzé Kene’s powerful solo show.
An enemy of the people: Sally Hales reviews the West End debut of Dawn King’s ‘neat, slick, streamlined four-hander’.
Listen up: Rosemary Waugh reviews a six-part programme led by Natalia Osipova.