‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
“Existential crisis averted, for now”: Sally Hales writes on the welcome humour of Richard Jones’s take on Beckett.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
‘An America that tears itself apart from the inside’: Louise Jones reviews imitating the dog’s shot-for-shot live remix of George Romero’s horror movie.
‘A sugary surface with an achingly bitter aftertaste’: Ava Wong Davies writes on Oscar Toeman’s revival of Lucy Prebble’s play about chatrooms and an unlikely friendship.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
Kaleidoscopic haunting: Mert Dilek writes on Ellen McDougall’s dense adaptation of Valeria Luiselli’s spectral novel.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Eyes and ears: Catherine Love writes on attention and public space in response to Common Ground Theatre and Hannah Bruce’s audio collage.