Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.
The author of ‘Everywoman’ at Vault Festival writes on her decision to remain anonymous, and on how gender influences ideas of what counts as a ‘universal’ story.
‘Brutally sincere’: Ava Wong Davies writes on the Yard’s double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.
‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.
The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.
‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.
Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.
‘Something strange and wild emerges from familiar architecture’: Lauren Mooney reviews Annie Jenkins’ impressive debut play about female friendship.
‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play
Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking
“This is Shakespeare as petty playground squabble, rather than stately struggle for the throne” – Fergus Morgan writes on Joe Hill-Gibbins’ punchy, political Richard II.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
‘The most millennial millennial’: Emily Davis writes on Bebe Sanders’ one woman show about an intergenerational friendship