Taking it seriously: Tracey Sinclair reviews David Edwards’ demystifying verbatim show about the realities of living with OCD.
The world of the play ‘spins off its axis and crashes into ours’: Nabilah Said writes to her penpal about Matthew Xia’s production of Athol Fugard’s anti-apartheid play.
Not that innocent: Emily Davis reviews The Famous Lauren Barri Holstein’s piece devised with young people, exploring ‘the risky parameter between appropriate and explicit’.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.
Simon Gwynn reviews Janet Suzman’s claustrophobic revival of Athol Fugard’s 1978 play, which explores ‘the personal toll of political events’.
‘What kind of nation have we created?’: Amy Borsuk reviews Adjoa Andoh and Lynette Linton’s ‘landmark’ production of Shakespeare’s history play.
Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal’s ‘irreverent and feral’ adaptation of Wolfram Lotz’s radio play about colonialism.
‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.
Mining the past: Tracey Sinclair writes on the nuanced portrayal of a ‘fragile ecosystem’ of men in Beth Steel’s mining drama.
Working it out: Naomi Obeng reviews Luca Rutherford’s solo show in two parts – a written response, and an audio recording made immediately after the performance.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
Singing her song: Louise Jones reviews Emma Geraghty’s solo show exploring fatness and queerness through music.
‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.
Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.