‘Contemplating the unthinkable’: Hannah Greenstreet writes on the macro and the micro in Gameshow’s play about dealing with existential threat.
A shadow over town: John Murphy reviews Charley Miles’ feminist-lensed play about the fear bred by the Yorkshire Ripper murders.
Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.
Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.
‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.
Resistance and solidarity: Lilith Wonziak reviews Theatre Ad Infinitum’s latest show exploring the challenges and prejudice faced by the Deaf community.
High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.
‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.
‘Why and when did the other side stop Rocking Against?’: Naomi Obeng on music and activism in Middle Child’s new show about the Rock Against Racism movement.
Ancient and modern: Aniqah Choudhri reviews Christopher Haydon’s sleek production starring Lucy Ellinson as the murderous general.
‘Hedda will always be painful’: Eve Allin writes on Cordelia Lynn’s Ibsen update, and the difficulty of re-writing a trapped character.
Unholy matrimony: Louise Jones reviews Gracefool Collective’s unruly deconstruction of wedding traditions.
Polluted truths: Emily Holyoake writes on post-truth politics and cross-gender casting in Rebecca Lenkiewicz’s Ibsen update.
Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.