‘The kind of beauty that leaves you feeling a little hopeless’: Rosemary Waugh reviews Rebecca Frecknall’s production of Three Sisters.
“If Caryl Churchill can’t have a large cast, who can?”: Hannah Greenstreet’s tripartite response to Top Girls explores its place in the theatre canon.
‘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.
“A long, slow slide into horror after horror” – Frey Kwa Hawking writes on Nicôle Lecky’s narrative of a young woman suffocated by anxieties.
Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.
Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.
Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
“This is Shakespeare as petty playground squabble, rather than stately struggle for the throne” – Fergus Morgan writes on Joe Hill-Gibbins’ punchy, political Richard II.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”
‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.