24-fingered 24-hour care: Rosemary Waugh reviews Pipeline Theatre’s show about robot carers.
State of the nation theatre (with a side of chips): Rosemary Waugh reviews Katy Baird’s performance of Workshy as part of IBT17.
Mining private grief for public spectacle: Chris McCormack reviews Ellen Flynn’s new drama about trauma and surveillance.
This is unquestionably about identity: Catherine Love reviews Lucy Jane Parkinson in JOAN.
A vast journey through a personal history: Chris McCormack reviews a site specific production of Enda Walsh’s unnerving new play.
We don’t talk about HIV. Not really: Chris White reviews Tom Marshman’s solo show about 1980s Kings Cross as part of the Exeter LGBT History Festival 2017.
The truly transformative nature of Graeae’s approach can’t be underestimated: Joe Turnbull from Disability Arts Online reviews a new production of Lorca’s play using an all-female, D/deaf and disabled cast.
With a swagger as irresistible as its titular hero: John Murphy reviews the new musical inspired by the television programme Drag Queen At 16.
Your body is yours, take it: Rosemary Waugh reviews Vivian Chinasa Ezugha’s performance at IBT17.
Hearts and minds: Rosemary Waugh reviews a new children’s show about depression.
An enormously heartbreaking experience: Kate Wyver reviews Rosana Cade’s new work at IBT17.
Carpe Dieming: Rosemary Waugh reviews Stacy Makishi’s life-affirming show at In Between Time 2017.
Short, bright and entertaining: Adam Bruce reviews the RSC’s production of The Tempest for younger audiences.
The qualities of agony, anxiety and desire contained within endings: Andrew Edwards reviews Company of Wolves’ new work in Glasgow.
A portrait of two bodies resisting: Maddy Costa reviews Rachael Young and Dwayne Antony’s performance at IBT17.