Down memory lane: Hoipolloi’s last entry in their Loose Change Trilogy features Shôn Dale-Jones’ alter-ego and reconstructed memories of his late father.
Chaos magic: Ka Bradley writes on Stefan Jovanović’s confusing, genre-blurring queer dance piece.
Knights at the circus: Rachel Nouchi reviews Cheek by Jowl and Moscow Pushkin Theatre’s take on Francis Beaumont’s early modern meta-comedy.
There’s a “thrilling cumulative power” to Samuel Adamson’s Ibsen-inspired study of queer relationships through successive decades.
A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.
‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.
Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
“A snapshot of life”: J N Benjamin writes on August Wilson’s multi-faceted interrogation of Black American life in 1985 Pittsburgh.
“One happy, happy community”: Rosemary Waugh writes on the stiflling smalltown mundanities of Thornton Wilder’s play.
Nyla Levy’s play about the radicalisation of a teenage girl captures ‘the weirdly skewed sense of the scale of things you have as a young person’, writes Frey Kwa Hawking.
“You can’t build a country on wants”: Maddy Costa writes on Ella Hickson’s play, feminism and capitalism.
Stark reminder: Tracey Sinclair writes on Abbot Dance Theatre’s commemoration of the women’s suffrage movement.
‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.