‘I hope for better stories than these’: Tracey Sinclair writes on the prevalence of violence against women as plot device in her review of She Production’s devised play.
‘Bafflement, interest and curiosity’: Ka Bradley writes on Jodee Mundee’s immersive insight into the lives of deafblind people.
‘Let’s talk about speaking’: Lauren Mooney writes on Sue MacLaine Company’s new show, inspired by the practice of Anchoritism.
Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
A broad brush: Louise Jones finds this adaptation of Jane Austen’s novel yields uneven results.
‘a play about what makes a community, and what divides it’: Nathan Lucky Wood reviews Kiln Theatre’s take on Zadie Smith’s novel
‘Simultaneously radical and commonplace’: Ifeyinwa Frederick’s debut play captures the joyous thorniness of female friendship, writes Ava Wong Davies
Holding fiction to account: Peter Kirwan writes on the representation of madness in Nottingham Playhouse’s revival of Alan Bennett’s play.
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.
‘Shiny baubles’: Tracey Sinclair reviews Elayce Ismail’s production of Dylan Thomas’s radio play.
‘A myth sceptical of myths’: James Varney writes on place and ownership in Chris Thorpe’s cycle of contemporary Mystery plays.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.
Suspicious stains: Martin Crimp’s unsettling 1988 play picks away at a real estate-selling couple’s hypocrisy and greed.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
‘Joy in solidarity’: Louise Jones writes on Phoenix Dance Theatre’s celebration of the human stories of the Windrush generation.