“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.
The living dead: Hailey Bachrach writes on Rafaella Marcus’ new production of Irwin Shaw’s ‘strange, spiky’ WW1 play.
Feedback loops: Rosana Cade and Ivor MacAskill’s show is a surreal exercise in repetition.
More than teenage drama: Hailey Bachrach writes on Sarah DeLappe’s hyper-naturalistic story of a teenage girls’ soccer team.
“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.
Burgers and boxes: Emily Davis writes on Travis Alabanza’s solo show about trans experience and violence.
Casual cruelty: Martin McDonagh’s play mixes crude colonialist satire with the trappings of a family Christmas show.
A spreading bruise: Alice Saville writes on Lies Pauwels’ participatory exploration of dealing with emotional pain.
Walking, standing still: Eve Allin writes on Stan’s Cafe’s new show about urban inequality, performed on two travelators.
Finding the language: Andy Edwards reviews Amy Rosa’s durational work exploring chronic pain and fatigue.
‘An offering to just a few of those that history missed out’: Frey Kwa Hawking reviews Daniel York Loh’s new play about the Chinese Labour Corps.
18th century morality: Aniqah Choudhri reviews the English National Ballet’s new touring production of Manon.
The lights are up: Rosemary Waugh reviews Robert Icke’s illuminating reimagining of Ibsen’s play.
‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant
Spots of time: Josephine Balfour-Oatts reviews a visually evocative production of Nessah Muthy’s new play about caring for a relative with dementia