‘Shrödinger’s gender’: Lilith Wozniak on Wils Wilson’s lucid, playful production of Twelfth Night.
Death and birth: Lilith Wozniak reviews a double bill of new work developed through Bristol Old Vic’s Ferment programme.
Visions of the future: Unlimited Theatre and RashDash collaborate on a whirlwind of speculative scenarios on technology and the body.
‘Dream space’: Catherine Love reviews Sarah Frankcom’s fresh, insightful take on the 20th Century American staple
Dancing shadows: Colin Dunne’s tribute to Tommie Potts’ ‘undanceable’ 1972 album is a meditation on absence and time.
A bad trip: Eve Allin writes on Leo Butler’s surreal new play for Told by An Idiot.
Crafty schemes: Druid’s production brings out all the gallows humour of Shakespeare’s play.
Agonising testimonies: Deirdre Kinahan’s new play is a densely plotted exploration of assault and speaking out.
A mountain of a man? Tracey Sinclair writes on the nuanced performances in the touring production of Katori Hall’s play.
Unafraid and magnificently surreal: Elevator Repair Service reimagines Albee’s classic, as part of Dublin Theatre Festival.
Uncomfortably familiar: Emily Holyoake writes on a revival of Mike Leigh’s play, alongside Safiyya Ingar’s one-woman response.
Phallocentricity gets a beating in Gina Moxley’s interrogation of psychotherapy, and a betrayed female patient.
Chris McCormack reviews Annie Ryan’s topical adaptation of Arthur Miller’s American-West novella The Misfits
The foibles of the ruling classes: Lilith Wozniak reviews a satire based on Queen Victoria and Prince Albert.
Let the doors be locked: Rosemary Waugh reviews Yaël Farber’s Hamlet, starring Ruth Negga.