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.
“Heteronormativity…it’s a curse!”: Ava Wong Davies writes on Marina Carr and Yael Farber’s bloody, binary take on Lorca.
Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
Men of magnitude: J N Benjamin writes on Athol Fugard’s semi-autobiographical story of prejudice in a failing South African tea room.
‘What does it mean to write a play about race?’ Emily Davis writes on Cassiopeia Berkeley-Agyepong and Simone Ibbett-Brown’s knotty, metatheatrical play.
‘A quiet warning that it’s wise to believe women, even when doing so challenges your worldview’: Sally Hales writes on Katori Hall’s play about the visions of three Rwandan school girls.
“A meta review of a metatheatrical play? Are you quite sure that’s wise?” Alice Saville writes an Austen-inspired response to Laura Wade’s Regency romp.
‘The twitch of the familiar’: Ka Bradley writes on Boy Blue’s new dance piece exploring grief.
A web of allusions: Hannah Greenstreet unpicks the intricacies of Caryl Churchill’s four-play cycle.
‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.
‘Why and when did the other side stop Rocking Against?’: Naomi Obeng on music and activism in Middle Child’s new show about the Rock Against Racism movement.
Ancient and modern: Aniqah Choudhri reviews Christopher Haydon’s sleek production starring Lucy Ellinson as the murderous general.
‘Hedda will always be painful’: Eve Allin writes on Cordelia Lynn’s Ibsen update, and the difficulty of re-writing a trapped character.