Teetering on the verge: Ava Wong Davies reviews Zawe Ashton’s poetic play exploring black women’s experiences of mental health issues.
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.
‘The gesture of care makes the performance feel suddenly more dangerous’: Hannah Greenstreet writes on Clean Break’s production of Alice Birch’s sharply experimental new play.
‘More disorientating than powerful’: Lauren Vevers reviews Common Wealth’s dystopian immersive show.
The real deal: Ka Bradley writes on three dance pieces by Oona Doherty, exploring masculinity and working-class communities in Northern Ireland.
Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.
The tears of a clown: Ben Kulvichit writes on the poignant chaos of Forced Entertainment’s new show.
Drip, drip, drip: Alice Saville writes on Sabrina Mahfouz’s slow-building deluge of a show.
‘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.
‘How far does self-awareness get us?’ Frey Kwa Hawking writes on Samuel Gallet’s metatheatrical skewering of the theatre industry.
‘Spit in my face’: Lily Levinson writes on Polly Wiseman’s new play that imagines a meeting between Valerie Solanas and Nico.
High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.
‘We’re already in the dirt’: Frey Kwa Hawking writes on Emma Frankland’s performance demolition of Ovalhouse, made with a company of transfeminine artists.