Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
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.
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels
Splash splosh: Naomi Obeng reviews Reckless Sleepers’ inviting, restless, weather-themed children’s show.
‘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.