Bloody festive: Lilith Wozniak reviews a pop-culture mash-up Christmas show with flying vampires, strap-ons and Bon Jovi sing-a-longs.
Real plastic trees: James Varney writes on Chanje Kunda’s conversational, autobiographical show about trying to move past trauma.
Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.
Shaft of light: Louise Jones writes on the ‘futile, gripping’ intensity of Athol Fugard’s seldom-produced two-hander.
A faltering take-off: Lilith Wozniak reviews a haltingly staged sci-fi promenade show from National Theatre of Wales and Hijinx Theatre.
Who’s in the picture: Aniqah Choudhri writes on a dance adaptation of Maya Angelou’s poem which glosses over the issue of race.
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.
Love me tender: Hannah Greenstreet writes on Zia Ahmed’s poetic new play, which explores the intersections of love and politics.
Cartoon magic: Lilith Wozniak reviews Protein Dance’s ‘playful and joyous’ adaptation of the much-loved book.
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.
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.
Family monsters: Christine Irvine reviews Oliver Emmanuel’s dark, tormented play about an estranged mother and daughter.
Surgical precision: Sally Hales writes on Hedda’s struggle ‘to be seen on her own terms’ in Chelsea Walker’s crystal-clear production.
Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.