‘Joyful sincerity’: Pete Kirwan writes on an earnest, escapist panto that brings the 12th century into the 21st.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”
Intrepid panto correspondent and newbie Londoner Rosemary Waugh reviews the bright lights of Jude Christian and Cariad Lloyd’s pantomime
Counting the cost of love: Lauren Mooney reviews Haley McGee’s ‘consistently hilarious and hypnotically honest’ solo show
‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.
Dances with difference: Aniqah Choudhri reviews Cathy Marsten and Arthur Pita-choreographed ballets for the all-PoC company Ballet Black.
Real stories: Tracey Sinclair on Open Clasp’s nuanced, heartfelt play looking at life after prison, based on the story of its real-life mother and daughter cast.
Skirting around sharp edges: James Varney reviews an all-male production of Jean Genet’s The Maids which doesn’t quite deliver on its promises.
“Be a mother to another”: John Murphy writes on Akeim Toussaint Buck’s engaging and accessible solo dance piece on the diasporic experience.
‘Quiet and considered’: Frey Kwa Hawking reviews Jack McNamara’s production of Don DeLillo’s play about a man in a vegetative state
‘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.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
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.