The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.
Mining the past: Tracey Sinclair writes on the nuanced portrayal of a ‘fragile ecosystem’ of men in Beth Steel’s mining drama.
Working it out: Naomi Obeng reviews Luca Rutherford’s solo show in two parts – a written response, and an audio recording made immediately after the performance.
Singing her song: Louise Jones reviews Emma Geraghty’s solo show exploring fatness and queerness through music.
‘Different kinds of storytelling’: Emily Holyoake reviews Yellow Earth and Extant’s collaborative circus-theatre piece made with blind actors.
Bad parenting: James Varney writes on the ambiguous critical outlook of David Judge’s autobiographical monologue on race and fatherhood.
Personal and political: Lilith Wozniak reviews Chinonyerem Odimba’s play for Eclipse Theatre, set during the Bristol Bus Boycott.
Keep the faith: Tracey Sinclair reviews the The Letter Room’s uplifting, music-filled performance about overcoming depression.
Mixed messages: Aniqah Choudhri reviews a dystopian, future-set adaptation of Brecht’s political parable.
Untranslatable: Henry Gleaden writes on Jaha Koo’s melancholy performance about the personal impact of South Korea’s financial crisis.
A familiar family: Ben Kulvichit writes on Chippy Lane Production’s new play and its echoes of 20th Century American playwrights
Nightmare room: Eve Allin reviews Daniel Bailey’s surreal production of Joe Penhall’s dissection of systemic racism in the mental health care system.
Young adult: Emily Holyoake on Pilot Theatre’s new staging of Malorie Blackman’s novel and theatre for teenage audiences.
Strange meeting: Tracey Sinclair reviews Gary Kitching and Steve Byron’s two-hander about men left behind by social systems.
Missed the boat: Crystal Bennes reviews Scottish Opera’s new commission about scientists on a research expedition to Greenland.