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.
‘Dogs are natural clowns’: Dog-person Henry Gleaden writes on Jacqueline Saphra’s monologue, told from the perspective of a family pet.
‘The stage starts to feel like a living entity’: Simon Gwynn reviews Omar Elerian’s deft production of Estelle Savasta’s play about child migration.
Messy divorce: Rachel Nouchi reviews Kellie Smith’s ‘painfully funny’ new play about parental separation.
Tensions in the ring: Louise Jones on plot and character in a wrestling ring-set co-production between Red Ladder and The Dukes, Lancaster.
“If Caryl Churchill can’t have a large cast, who can?”: Hannah Greenstreet’s tripartite response to Top Girls explores its place in the theatre canon.
Who cares?: Tracey Sinclair reviews John McKenna’s theatrical enquiry into Northern Ireland’s political landscape.
‘A boiling down of the complex and beautiful into something more prosaic’: Lauren Mooney writes on a musical adaptation of the cult film about a dysfunctional family road trip.
Brutalist brilliance: Francesca Peschier reviews Chris Bush and Richard Hawley’s sweeping musical ode to Sheffield’s Park Hill housing estate.
Top Queers: Tom Stuart’s play joyfully brings together queer figures from across history, in a narrative sparked by Marlowe’s Edward II.
Black feathers on your pillow: Hannah Greenstreet writes on Enda Walsh’s scratchy, crow-filled exploration of mourning.
Emotionally invested: Naomi Obeng writes on a stage adaptation of a childhood favourite which ‘plainly plays with magic’.
‘A play in which nothing happens, once’: Freddie Machin reviews Theater Artemis’ absurdist show for young people.
‘The actors flounder about in the bagginess of the space’: JN Benjamin writes on Ella Road’s dystopian play exploring the ethics of biotechnology.