A difficult woman: Hannah Greenstreet writes on the too-familiar tropes exposed in Clare Barron’s narrative of love and ballet.
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.