‘Moments of compassion and trust”: Frey Kwa Hawking writes on Gabriel Gbadamosi’s wide-ranging, but opaque new play.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.
Fun on the side: Frey Kwa Hawking writes on Kevin Elyot’s debut play about nonmonogamy, as it transfers to Trafalgar Studios.
‘Something strange and wild emerges from familiar architecture’: Lauren Mooney reviews Annie Jenkins’ impressive debut play about female friendship.
‘A fast-paced tour of fake news, guided by an otherworldly ensemble of mischievous shapeshifters’: Henry Gleaden reviews Rhum and Clay’s adaptation of Orson Welles’s radio play
Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
Starting a conversation: Eve Allin reviews a new collaboration between Andy Smith (UK) and Amund Sjølie Sveen (Norway)
Nights at the Circus: Sally Hales reviews an uneven attempt to bring the big top back in time.
Willy Hudson’s solo show explores ‘the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out’, writes Frey Kwa Hawking
Panto pedagogy: Hester Chillingworth’s pantomime ditches dodgy gags and tired tropes for a transpositive alternative.
“This is Shakespeare as petty playground squabble, rather than stately struggle for the throne” – Fergus Morgan writes on Joe Hill-Gibbins’ punchy, political Richard II.
Season’s greetings: Tracey Sinclair reviews a warm-hearted quartet of short plays from emerging writers.
Raising the roof: John Murphy reviews Sheffield Crucible’s slick and spectacular production of the Cole Porter classic.
A reckoning: Mark Ravenhill’s new play is a naturalistic, troubling exploration of history and abuses of power.
“Cook, stirring, until the misery has melted”: Rosemary Waugh’s review of the ROH’s opera takes the form of a very festive recipe.