Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
‘Teenage dreamscape’: Lauren Vevers reviews The Paper Birds’ irreverent, nostalgic gig-theatre piece drawn from letters written by teenagers.
Same old story: Tracey Sinclair writes on an ‘impressively slick’ solo show which falls into the trap of giving oxygen to its narrator’s toxic outlook.
Unravelling grief: Tracey Sinclair reviews a touring production from Graeae of Winsome Pinnock’s play unspooling a tragic event.
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.
Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.
High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.
‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.
‘I’ve never known Sherlock to have a Geordie accent’: Lauren Vevers writes on an atmospheric, distinctly Northern, Conan Doyle adaptation.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.
‘Cheekiness and verve’: Tracey Sinclair reviews Melody Sproates’ debut show, an entirely lip-synced exploration of life as a young non-binary person.
‘Sharpened like a blade’: Tracey Sinclair reviews an intimate, impromptu-feeling revival of John McGrath’s landmark play.
‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.