Why walk when you can flip?: Lilith Wozniak reviews Wise Children’s second production, a nostalgia-soaked adaptation of Enid Blyton’s beloved children’s books.
Are you sitting comfortably?: Lilith Wozniak reviews Vanessa Redgrave’s collection of personal and political histories from the lead-up to the Second World War.
A matter of life and death: Louise Jones writes on the emotional mechanics of Theatre Re’s lyrical piece of physical theatre.
Invisible cities, right before your eyes: Aniqah Choudhri reviews a multimedia dance-theatre extravaganza based on Italo Calvino’s novel.
‘I’m beautiful and I’m here’: Ben Kulvichit reviews Tinuke Craig’s soulful, stirring production of the musical adaptation of Alice Walker’s famous epistolary novel.
Fly me to the moon: Tracey Sinclair reviews Scott Turnbull’s offbeat, cheeky solo show about a lonely astronaut.
A tale of two plays: Tracey Sinclair writes about place, sport and culture in a new play about the much loved footballer and manager.
Maggie who?: James Varney writes on character, community and the ghost of Tennessee Williams in American choreographer Trajal Harrell’s new piece for MIF.
Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.
(En)acting care: James Varney writes on relaxed environments, care and memory in 154 Collective’s Hodgkiss Award-winning multimedia show.
‘Cheekiness and verve’: Tracey Sinclair reviews Melody Sproates’ debut show, an entirely lip-synced exploration of life as a young non-binary person.
All change: Christine Irvine writes on the shape-shifting theatrics of Pamela Carter and Stewart Laing’s exploration of change.
‘What about the Struggle’: Naomi Obeng writes a poetic response to Kemp Powers’ imagined account of the meeting of Malcolm X, Cassius Clay, Jim Brown and Sam Cooke.
‘Sharpened like a blade’: Tracey Sinclair reviews an intimate, impromptu-feeling revival of John McGrath’s landmark play.
‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.