‘A spider’s web of complicity and guilt’: Ava Wong Davies writes about Anna Himali Howard’s theatrical investigation of the impact of colonialism on Antigua
Flickering flames: Amy Borsuk writes on a production of Shakespeare’s tragedy that makes artful use of candlelight.
Courage Everywhere, the NT’s celebration of 100 years since (partial) womens’ suffrage, begins with a powerful new play from Graeae.
‘a bit like being occasionally struck by lightning’: Frey Kwa Hawking writes on Made in China’s fast-talking new show.
The boy with the lyre: Alice Saville writes on Anais Mitchell’s infernal concept album-turned-musical.
‘Let’s talk about speaking’: Lauren Mooney writes on Sue MacLaine Company’s new show, inspired by the practice of Anchoritism.
Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.
We dreamed a dream: Exeunt’s writers imagine a takeover of London’s creakiest, most storied theatres.
Suspicious stains: Martin Crimp’s unsettling 1988 play picks away at a real estate-selling couple’s hypocrisy and greed.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.