‘The carefully papered-over cracks in their identities are ripped open’: Sally Hales reviews Matt Jones and Kele Okereke’s timely play about an international gay couple, with music from Bloc Party.
‘The beauty and grace comes from performers making performance work (play) on their own terms’: Emily Davis writes on Ellie Dubois’ feminist deconstruction of circus.
‘Queer politic as positive philosophy’: James Varney on how Gareth Cutter’s solo show fits in a wider culture of Queerness and performance.
‘That little jump in the stomach at seeing your body onstage, accompanied by a desire for something more’: Ava Wong Davies responds to Jennifer Tang’s exploration of British-Chinese identity.
‘Theatre that refuses to form an orderly queue’: Frey Kwa Hawking reviews Borderline’s playful satire of the UK’s labyrinthine immigration system.
The woods for the trees: James Varney writes on scale and perspective in James Monaghan’s solo piece, from his viewpoint as an embedded critic.
‘Dear Jade and Jonjo’: JN Benjamin writes a letter to the performers of Ellen McDougall and Sarah Ruhl’s experimental exploration of Elizabeth Bishop and Robert Lowell’s epistolary friendship.
Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.
A rich tapestry: Lilith Wozniak reviews Nick Makoha’s autobiographical play about stories of exile and displacement.
‘Its polemic is potent’: James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
‘Brutally sincere’: Ava Wong Davies writes on the Yard’s double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.
‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.
‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.
A canny comedy crime caper: Ben Kulvichit reviews New Old Friend’s latest addition to their popular touring murder mystery series.
The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.