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.
‘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.