Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
“A snapshot of life”: J N Benjamin writes on August Wilson’s multi-faceted interrogation of Black American life in 1985 Pittsburgh.
“One happy, happy community”: Rosemary Waugh writes on the stiflling smalltown mundanities of Thornton Wilder’s play.
“You can’t build a country on wants”: Maddy Costa writes on Ella Hickson’s play, feminism and capitalism.
Stark reminder: Tracey Sinclair writes on Abbot Dance Theatre’s commemoration of the women’s suffrage movement.
‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.
Shipshape hilarity: Ed Nightingale reviews SpitLip’s WWII entirely entertaining comedy-musical.
Pastel nightmares: Frey Kwa Hawking writes on a riotous exploration of skin-lightening and prejudice.
Kate Wyver writes on Bella Heesom’s (pubic) hair-raisingly literal exploration of all things vulval.
‘I have never enjoyed a single opera I have ever seen’: JN Benjamin writes on English National Opera and the Unicorn’s production of Dido for young audiences.
Caring ‘for the complexity of social interconnection’: Maddy Costa writes on Human Jam, which excavates the impact of HS2 on Camden.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘It makes my bones ache to watch’: Emily Davis writes on Ridiculusmus’ show exploring ageing.