Cosmetic expectations: Louise Jones writes on The Hiccup Project’s dance exploration of the pressures on women to be ‘lovely’.
Glitching GIFs: Ben Kulvichit writes on Ultimate Dancer’s dazzling multimedia dance performance.
Rosemary Waugh writes on a cliché-resistant narrative of an Indigenous woman’s revenge.
Rosemary Waugh reviews Tim Cowbury’s performance in the form of an awkward convo in Summerhall courtyard.
Fact before feeling: Ava Wong Davies writes on Rob Icke’s streamlined Oedipus.
Am I overthinking this? Ben Kulvichit writes a footnoted response to Lewys Holt’s duo of performances.
Undone, unmade: Lilith Wozniak writes on the reversible and irreversible changes of Ontroerend Goed’s palindromic new show.
Brendan Macdonald responds to Harry Clayton-Wright’s sex-positive coming-of-age performance with a (hypothetical) letter to his mum.
Glistening power: Ava Wong Davies writes on an exploration of blackness and queerness.
“A duet of reluctance and pleasure”: Hannah Greenstreet writes on Tim Crouch’s delicate book-based interactive performance.
Raw and clandestine: Louise Jones writes on Catherine Hoffmann’s musical about under-discussed gynaecological conditions.
Power crazy: Rosemary Waugh writes on how Korean company Cho-in theatre turn Macbeth into a fierce metaphor for ambition.
Human and complicated: Brendan Macdonald writes on Daf James’ adoption narrative.
(Un)sexy times: Alice Saville writes on a blunt exploration of female arousal.
True crimes: Hannah Greenstreet writes on a show that attempts to examine why women are drawn to serial killer stories.