‘Teenage dreamscape’: Lauren Vevers reviews The Paper Birds’ irreverent, nostalgic gig-theatre piece drawn from letters written by teenagers.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
‘An America that tears itself apart from the inside’: Louise Jones reviews imitating the dog’s shot-for-shot live remix of George Romero’s horror movie.
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance 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.
Eyes and ears: Catherine Love writes on attention and public space in response to Common Ground Theatre and Hannah Bruce’s audio collage.
Glitz and glamour: Louise Jones reviews Le Gateau Chocolat and Jonny Woo’s loving lampooning of all things musical theatre.
Mammals in space: Ben Kulvichit reviews Figs in Wigs’ irreverent take on Kenneth Grahame’s pastoral fantasia, with added space rockets and iPhones.
Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.
Spinning yarns: Lilith Wozniak writes on a carnival-inspired tale of a swindler out to win a cash prize, drawing from Afro-Caribbean folklore.
‘Pure Dickens’: Christine Irvine writes on Douglas Maxwell’s power-struggle play about a Mod-obsessed asylum seeker and a disillusioned academic.
Liars, cheats and scoundrels: John Murphy on escaping into the familiar world of the classic New York musical.
‘Like the kick of coffee in a gingerbread latte’: Hannah Greenstreet writes on Chris Bush’s Christmas show about family traditions.