Rose Johnstone writes on the dog jokes and righteous fury of Hannah Gadsby’s new show, “Nanette’s even more rebellious and revolutionary sister”.
Art, out of context: Frey Kwa Hawking writes on Jordan Tannahill’s look at queer sexuality and censorship in Renaissance Florence.
A bloodless revolution: Ava Wong Davies writes on Mike Bartlett and Tinuke Craig’s underpowered take on Gorky’s political satire.
Ava Wong Davies writes on Tristan Fynn-Aiduenu’s production of Arinzé Kene’s play about teenagers on the cusp of adulthood, which ‘fizzes and froths like a half-drunk bottle of Coke’.
Becoming universal: Maddy Costa writes on Danusia Samal’s new play, a ‘familiar, homely and true’ exploration of its characters’ tangled identities.
“We’re good people right?” – Rosemary Waugh writes on the normal people of Duncan Macmillan’s climate change play.
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.