“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.
Emotive notes: Alice Saville responds to Dave Malloy’s passionate symphonic musical with a review in four movements.
“Get in, losers, we’re going capital-W Weird”: Ava Wong Davies writes on Lisa D’Amour’s startling, dreamlike story of female adolescence.
People watching: Verity Healey writes on Alexander Zeldin’s compelling study of a community centre.
Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig’s play about “the almost unbelievable political and humanitarian mess” of China’s plasma trade.
“Chaotic, rewarding and tiring”: Simon Gwynn writes on Maya Arad Yasur’s surreal narrative of Amsterdam’s hidden history.
‘A whirling, inescapable funhouse of micro and macroaggressions’: Ava Wong Davies writes on Tanika Gupta’s new adaptation of Ibsen’s play, relocated to colonial India.
Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.
Typical?: Lily Levinson writes on Ryan Cameron Calais’s monologue, which explores the devastating consequences of institutional racism.