The world of the play ‘spins off its axis and crashes into ours’: Nabilah Said writes to her penpal about Matthew Xia’s production of Athol Fugard’s anti-apartheid play.
Not that innocent: Emily Davis reviews The Famous Lauren Barri Holstein’s piece devised with young people, exploring ‘the risky parameter between appropriate and explicit’.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
“THIS pie was SO perfect!” – Alice Saville responds to the hit musical, using real TripAdvisor reviews of American diners.
The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.
‘Grainy portraits’: Brendan MacDonald reviews Tom Ratcliffe’s new play, which explores the ‘struggle to find long-lasting love’ as a gay man.
Simon Gwynn reviews Janet Suzman’s claustrophobic revival of Athol Fugard’s 1978 play, which explores ‘the personal toll of political events’.
‘What kind of nation have we created?’: Amy Borsuk reviews Adjoa Andoh and Lynette Linton’s ‘landmark’ production of Shakespeare’s history play.
Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal’s ‘irreverent and feral’ adaptation of Wolfram Lotz’s radio play about colonialism.
Polar opposites: Hailey Bachrach writes on Tatty Hennessy’s narrative of arctic exploration, and the weight of female role models.
A muted experiment: Arjun Sajip writes on Nicholas Hytner’s staging of a bestselling thriller.
Funny as hell: Nabilah Said writes on Clean Break’s hilarious, but painful exploration of how women are prison are depicted.
‘Rich people acting out their little dramas’: Frey Kwa Hawking writes on Sleepwalk Collective’s final show in their Kardashian trilogy, a deconstructed, live-art opera.
‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.
Mining the past: Tracey Sinclair writes on the nuanced portrayal of a ‘fragile ecosystem’ of men in Beth Steel’s mining drama.