Watching through my fingers – Hannah Greenstreet on Milly Thomas’s new plays and theatre’s duty of care.
“A surprisingly tender theatrical experiment”: Hannah Greenstreet reviews YESYESNONO’s exploration of intimacy.
‘Excellent’, ‘astonishing’, ‘devastating’ and all the rest: Rosemary Waugh reviews the return of Yael Farber’s Mies Julie to the Edinburgh Fringe.
Lyrical, joyous and vital – Hannah Greenstreet on the National Theatre of Scotland’s two stories about trans experience.
Have you tried…? Rosemary Waugh reviews Rachel Bagshaw and Chris Thorpe’s show about living with chronic pain.
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
A crash, or a stubbornness: Rosemary Waugh reviews Zinnie Harris’s new version of Eugène Ionesco’s Rhinoceros at the EIF.
Monica Dolan’s one woman show is a deliberately un-sensationalised exploration of how children are sexualised.
Dissonance and vocal fry – Hannah Greenstreet on a performance that explores gendered speech.
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.
A long and arduous country ramble: Chris White reviews Jessica Barker-Wren’s rural tragicomedy.
Space for freethinking: Chris McCormack reviews the Abbey Theatre’s adaptation of a Ken Loach film.
Dreaming of a new destination: Chris McCormack reviews a double bill of two short plays by Tennessee Williams.
Francesca Peschier discovers polyamory and queer domesticity in a current-feeling revival of Kevin Elyot’s 1982 play.
Strindbergian in intensity: Chris McCormack reviews Donnacha Dennehy and Enda Walsh’s new opera.