One last job: Lilith Wozniak reviews The Wardrobe Ensemble’s Christmas show mixing English folklore and heist movie.
Gig economy, gig theatre: Lauren Vevers reviews an DIY, punk Christmas show taking aim at zero-hour work.
Head to head: Louise Jones compares two York pantos following legendary dame Berwick Kaler’s split from York Theatre Royal.
Vroom vroom: Fergus Morgan reviews James Ley’s X-rated comedy about a man who rides his car in more ways than one.
Devoted to the devil: James Varney invokes David Greig’s midwinter folk story with a crown of sonnets.
‘There is a kind of pleasure in judging other people’: Hannah Greenstreet writes on Mike Bartlett’s monologue exploring social mores in lockdown.
Talking it out: Simon Gwynn reviews Nana-Kofi Kufuor’s locked room drama about internalised racism.
Needlework and laser blasters: Lilith Wozniak reviews the Wardrobe Theatre’s latest pop-culture mashup Christmas show.
Home alone: Tracey Sinclair reviews Hannah Sowerby’s one-woman comedy with shades of Alan Bennett and Victoria Wood.
It’s your funeral: Simon Gwynn reviews a clown show made by Ugly Bucket to be performed at a friend’s memorial service.
‘Ebbs and flows’: Lilith Wozniak writes on Heather Agyepong’s meditation on trauma and the body.
Rescued from obscurity: Fergus Morgan reviews an under-appreciated play by Pedro Calderon, in a sparse, metatheatrical production by Wils Wilson
How it feels: Andrew Edwards reviews a selection of contemporary dance across forms, from installation to interactive performance and film.
Unpredictable weather: Lilith Wozniak reviews a tonally turbulent production from Wise Children starring Lucy McCormick.
Putting in a shift: Angelo Irving reviews Quarantine’s 12-hour mass portrait of the workers of Leeds.