Finding their voices: Annegret Märten writes on BAC Beatbox Academy’s joyful reimagining of Mary Shelley’s novel.
The world of the play ‘spins off its axis and crashes into ours’: Nabilah Said writes to her penpal about Matthew Xia’s production of Athol Fugard’s anti-apartheid play.
Not that innocent: Emily Davis reviews The Famous Lauren Barri Holstein’s piece devised with young people, exploring ‘the risky parameter between appropriate and explicit’.
Simon Gwynn reviews Janet Suzman’s claustrophobic revival of Athol Fugard’s 1978 play, which explores ‘the personal toll of political events’.
‘What kind of nation have we created?’: Amy Borsuk reviews Adjoa Andoh and Lynette Linton’s ‘landmark’ production of Shakespeare’s history play.
Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal’s ‘irreverent and feral’ adaptation of Wolfram Lotz’s radio play about colonialism.
‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.
Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.
Ned Bennett’s subtle and physical production brings out ‘the sticky straw and steaming shit side of horses’, as represented in Peter Shaffer’s play, writes Rosemary Waugh.
‘Who has the freedom to force choices onto whom and why?’: Kate Hewitt’s new take on Stephen Adly Guirgis’s play questions the possibility of free will within the penal system, writes Verity Healey.
Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.
‘A sharp, metallic taste you’re not expecting’: Ben Kulvichit writes on strangeness and power in the Yard’s double-bill of live art by Tim Spooner & Tom Richards and Ira Brand.