The reluctant critic: Brendan MacDonald writes on Christopher Green’s tricksy performance of a crisis of faith in theatre.
Big wigs: Kensington Palace’s new immersive show about two powerful queens doesn’t win over historical reenactments fan Hailey Bachrach.
Are we alone? Frey Kwa Hawking writes on Frantic Assembly’s ‘unwieldy’ new show that constellates characters in grief and loneliness.
Alice Saville makes a big, huge attempt to appreciate the joys of the Julia Roberts flick-turned-heteronormative musical fantasy.
Mirror, mirror: Alice Saville reflects on Sergio Blanco’s cool look at narcissism and murderous urges.
Food fight: Mert Dilek writes on Gillian Greer’s exploration of appetites and consent.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.
Bodies in a movement: Maddy Costa writes on Coletiva Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels