Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Eyes and ears: Catherine Love writes on attention and public space in response to Common Ground Theatre and Hannah Bruce’s audio collage.
Burial rites: Hannah Greenstreet writes on Lulu Raczka’s sensitive new version of Sophocles’ tragedy that focuses on its sisters.
Broken spokes: Simon Gwynn reviews Athena Stevens’ ‘amusing, provocative’ exploration of ‘the shit disabled people have to deal with day in, day out’.
Under the microscope: Brendan MacDonald writes on Sarah Gordon’s tender but familiar play about two lovers seeking closure.
Circus at the end of the world: Maddy Costa writes on Ockham Razor’s intergenerational aerial collaboration.
‘An avalanche of years’: Frey Kwa Hawking writes on Alexandra Wood’s naturalistic depiction of the relationships between sisters over forty years.
“I grin hard enough to hurt”: Frey Kwa Hawking writes on the joys and agonies of Mike Lew’s high school Shakespeare.
A dangerous game: Hannah Greenstreet writes on Ella Hickson’s metatheatrical play on Elizabeth I’s power.
Glitz and glamour: Louise Jones reviews Le Gateau Chocolat and Jonny Woo’s loving lampooning of all things musical theatre.
Mammals in space: Ben Kulvichit reviews Figs in Wigs’ irreverent take on Kenneth Grahame’s pastoral fantasia, with added space rockets and iPhones.
“Yes, it’s a Brexit play”: Ava Wong Davies writes on the warm-hearted bluntness of Mike Bartlett’s story of intergenerational conflict.
Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.