‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
‘This trying is pointed at you, because the show felt pointed at me for once’: Frey Kwa Hawking writes on Sylvan Oswald’s ‘theatrical essay’ about transness and love.
The reluctant critic: Brendan MacDonald writes on Christopher Green’s tricksy performance of a crisis of faith in theatre.
Are we alone? Frey Kwa Hawking writes on Frantic Assembly’s ‘unwieldy’ new show that constellates characters in grief and loneliness.
Food fight: Mert Dilek writes on Gillian Greer’s exploration of appetites and consent.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.
Bodies in a movement: Maddy Costa writes on Coletiva Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.