The living dead: Hailey Bachrach writes on Rafaella Marcus’ new production of Irwin Shaw’s ‘strange, spiky’ WW1 play.
Feedback loops: Rosana Cade and Ivor MacAskill’s show is a surreal exercise in repetition.
More than teenage drama: Hailey Bachrach writes on Sarah DeLappe’s hyper-naturalistic story of a teenage girls’ soccer team.
“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.
Burgers and boxes: Emily Davis writes on Travis Alabanza’s solo show about trans experience and violence.
Casual cruelty: Martin McDonagh’s play mixes crude colonialist satire with the trappings of a family Christmas show.
A spreading bruise: Alice Saville writes on Lies Pauwels’ participatory exploration of dealing with emotional pain.
‘An offering to just a few of those that history missed out’: Frey Kwa Hawking reviews Daniel York Loh’s new play about the Chinese Labour Corps.
The lights are up: Rosemary Waugh reviews Robert Icke’s illuminating reimagining of Ibsen’s play.
‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant
Spots of time: Josephine Balfour-Oatts reviews a visually evocative production of Nessah Muthy’s new play about caring for a relative with dementia
Graft, grit and glitter: Francesca Peschier writes on the shifting layers of Emma Rice’s retelling of Angela Carter’s story.
Same old story: Nina Raine’s play ends up reaffirming a depressingly familiar set of stereotypes about childless women.
Punching up: Joy Wilkinson’s play is an exhilarating trip into an imagined world of Victorian women’s boxing.
As Matthew Lopez’s gay epic transfers from the Young Vic to the West End, Frey Kwa Kawking writes on its sprawling, compassionate glory.