Love me tender: Hannah Greenstreet writes on Zia Ahmed’s poetic new play, which explores the intersections of love and politics.
Wild waters: Frey Kwa Hawking writes on Daniel Bailey’s production of Chinonyerem Odimba’s play exploring friendship, motherhood and recovering from trauma.
“Time goes really weird”: Eve Allin and Ava Wong Davies conduct a voice notes dialogue on the mess, mayhem and impenetrable moments of Figs in Wigs’ new show.
Teetering around the edges: Emily Davis writes on Rachel Mars and Greg Wohead’s exploration of plot holes and holes in the walls.
Trying to fly: Eve Allin writes on SUPERFAN’s circus performance for adults and children.
‘Political theatre at its finest’: JN Benjamin writes on Samuel Bailey’s exploration of empathy, set in a young offenders’ institution.
“A surface-level solution”:Amy Borsuk finds that a gender-swap doesn’t fix the problems posed by Shakespeare’s play.
Endless spirals: Alice Saville writes on the looping, time-bending world of Annie Baker’s interrogation of storytelling.
Cartoon magic: Lilith Wozniak reviews Protein Dance’s ‘playful and joyous’ adaptation of the much-loved book.
‘The plot has aged like milk’: Ava Wong Davies creates a mixtape review in response to the musical adaptation of Nick Hornby’s novel about an ‘insufferable music snob’.
Toxic legacies: Verity Healey writes on cycles of gendered violence in Anupama Chandrasekhar’s reimagining of Ibsen’s Ghosts.
Pass it on: Lily Levinson writes on Natalie Mitchell’s kind-hearted play about OCD and teen relationships.
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.
A storm about to break: James Varney on the intricate relationships in Simon Stephens’ melancholic drama, which marks the end of Sarah Frankcom’s tenure at the Royal Exchange.
A difficult woman: Hannah Greenstreet writes on the too-familiar tropes exposed in Clare Barron’s narrative of love and ballet.