Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.
(En)acting care: James Varney writes on relaxed environments, care and memory in 154 Collective’s Hodgkiss Award-winning multimedia show.
‘Cheekiness and verve’: Tracey Sinclair reviews Melody Sproates’ debut show, an entirely lip-synced exploration of life as a young non-binary person.
All change: Christine Irvine writes on the shape-shifting theatrics of Pamela Carter and Stewart Laing’s exploration of change.
‘What about the Struggle’: Naomi Obeng writes a poetic response to Kemp Powers’ imagined account of the meeting of Malcolm X, Cassius Clay, Jim Brown and Sam Cooke.
‘Sharpened like a blade’: Tracey Sinclair reviews an intimate, impromptu-feeling revival of John McGrath’s landmark play.
‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.
Wild and well-armed: Maddy Costa reviews Documental Theatre’s country and Western musical following a BHS employee robbed of her pension.
National heroes: Crystal Bennes writes on Scottish nationalism in her review of Wonder Fools’ play about four Scottish miners who volunteered to fight in the Spanish Civil War.
You and I, here and there: Ben Kulvichit responds to Jo Fong and Sonia Hughes’ participatory piece by setting a timer for six minutes.
Speaking out: Lilith Wozniak reviews a new play from National Theatre Wales about abortion and the dangers of silence, set between Ireland and Wales.
Down memory lane: Hoipolloi’s last entry in their Loose Change Trilogy features Shôn Dale-Jones’ alter-ego and reconstructed memories of his late father.
‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.
Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
Stark reminder: Tracey Sinclair writes on Abbot Dance Theatre’s commemoration of the women’s suffrage movement.