Teetering on the verge: Ava Wong Davies reviews Zawe Ashton’s poetic play exploring black women’s experiences of mental health issues.
‘The gesture of care makes the performance feel suddenly more dangerous’: Hannah Greenstreet writes on Clean Break’s production of Alice Birch’s sharply experimental new play.
The real deal: Ka Bradley writes on three dance pieces by Oona Doherty, exploring masculinity and working-class communities in Northern Ireland.
The tears of a clown: Ben Kulvichit writes on the poignant chaos of Forced Entertainment’s new show.
Drip, drip, drip: Alice Saville writes on Sabrina Mahfouz’s slow-building deluge of a show.
‘How far does self-awareness get us?’ Frey Kwa Hawking writes on Samuel Gallet’s metatheatrical skewering of the theatre industry.
‘Spit in my face’: Lily Levinson writes on Polly Wiseman’s new play that imagines a meeting between Valerie Solanas and Nico.
‘We’re already in the dirt’: Frey Kwa Hawking writes on Emma Frankland’s performance demolition of Ovalhouse, made with a company of transfeminine artists.
“Heteronormativity…it’s a curse!”: Ava Wong Davies writes on Marina Carr and Yael Farber’s bloody, binary take on Lorca.
Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
Men of magnitude: J N Benjamin writes on Athol Fugard’s semi-autobiographical story of prejudice in a failing South African tea room.
‘What does it mean to write a play about race?’ Emily Davis writes on Cassiopeia Berkeley-Agyepong and Simone Ibbett-Brown’s knotty, metatheatrical play.
‘A quiet warning that it’s wise to believe women, even when doing so challenges your worldview’: Sally Hales writes on Katori Hall’s play about the visions of three Rwandan school girls.
‘The twitch of the familiar’: Ka Bradley writes on Boy Blue’s new dance piece exploring grief.
A web of allusions: Hannah Greenstreet unpicks the intricacies of Caryl Churchill’s four-play cycle.