Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Successful parenting: James Varney writes on the obsessive drive of Rose, the vaudeville troupe manager-mother of Gypsy.
Real plastic trees: James Varney writes on Chanje Kunda’s conversational, autobiographical show about trying to move past trauma.
A storm about to break: James Varney on the intricate relationships in Simon Stephens’ melancholic drama, which marks the end of Sarah Frankcom’s tenure at the Royal Exchange.
Ancient and modern: Aniqah Choudhri reviews Christopher Haydon’s sleek production starring Lucy Ellinson as the murderous general.
Memory road: Aniqah Choudhri reviews National Theatre of Scotland’s adaptation of celebrated poet Jackie Kay’s memoir.
Invisible cities, right before your eyes: Aniqah Choudhri reviews a multimedia dance-theatre extravaganza based on Italo Calvino’s novel.
Maggie who?: James Varney writes on character, community and the ghost of Tennessee Williams in American choreographer Trajal Harrell’s new piece for MIF.
(En)acting care: James Varney writes on relaxed environments, care and memory in 154 Collective’s Hodgkiss Award-winning multimedia show.
‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.
Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
‘A dark wonderland’: Aniqah Choudhri finds beauty in the flamenco, vaginas and talking toilets of Caroline Horton’s new family show.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.