‘Sharpness and spikiness’: Tracey Sinclair reviews Katie Arnstein’s nostalgia-laced debut show about a feminist coming-of-age.
‘The kind of beauty that leaves you feeling a little hopeless’: Rosemary Waugh reviews Rebecca Frecknall’s production of Three Sisters.
Christopher Adam’s new play Tumulus is ‘swift, stomach-dropping swoop into noir’ investigating chemsex culture, writes Frey Kwa Hawking.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.
The path of most resistance: Lilith Wozniak reviews a multi-stranded project from Headlong, made with four communities from across the UK.
Someday, somewhere: Catherine Love on what Sarah Frankcom’s fresh, stark revival of West Side Story has to say about the world the young inherit.
‘Life’s metaphorical bucket’: Louise Jones reviews Holly Gallagher’s solo storytelling show about the three Millennials under stress.
Scuttling sand-creatures and killer hairballs: Tracey Sinclair reviews a duo of surreal puppet shows at Newcastle’s Moving Parts Festival.
‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.
Into the woods: Alice Saville writes on an eerie staging of Arthur Miller’s thorny narrative of hysteria.
‘Repeated motions that create, segment by segment, a single monumental achievement’: Ka Bradley writes on English National Ballet’s triple-bill of work by female choreographers.
Catching light: Ava Wong Davies writes on Abishek Majumdar’s narrative of non-violent protest in Tibet.
Night terrors: Kate Wyver writes on the sharp but fleeting chills of Dyson and Nyman’s returning horror anthology.
A moral swamp: Frey Kwa Hawking infiltrates a far right organisation as part of a tense immersive experience.
‘The antithesis of magic’: Lilith Wozniak writes on Robin Boon Dale’s performance lecture on the philosophy and physics of juggling.