Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
Shine on: Lauren Vevers reviews a galvanising coming-of-age story from rapper and actor Kema Sikazwe.
‘A magic box of delights’: Tracey Sinclair reviews Frozen Light’s tactile, sensory show for audiences with profound and multiple learning disabilities.
Stitching stories: Catherine Love on Paula Varjack’s complicated love letter to fashion.
Deep cuts from DJ Anglerfish: Lilith Wozniak on The Wardrobe Ensemble’s latest instalment in their Seekers series for younger years.
‘A dark wonderland’: Aniqah Choudhri finds beauty in the flamenco, vaginas and talking toilets of Caroline Horton’s new family show.
Improbable feats: Ben Kulvichit writes on heroes and villains in Inua Ellams’ new play, which fuses Greek and Yoruba mythology.
‘Sharpness and spikiness’: Tracey Sinclair reviews Katie Arnstein’s nostalgia-laced debut show about a feminist coming-of-age.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.
The path of most resistance: Lilith Wozniak reviews a multi-stranded project from Headlong, made with four communities from across the UK.
Someday, somewhere: Catherine Love on what Sarah Frankcom’s fresh, stark revival of West Side Story has to say about the world the young inherit.
‘Life’s metaphorical bucket’: Louise Jones reviews Holly Gallagher’s solo storytelling show about the three Millennials under stress.
Scuttling sand-creatures and killer hairballs: Tracey Sinclair reviews a duo of surreal puppet shows at Newcastle’s Moving Parts Festival.
‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.
‘The antithesis of magic’: Lilith Wozniak writes on Robin Boon Dale’s performance lecture on the philosophy and physics of juggling.