Louise Jones submits her examination paper for Jonathan Lewis’ play. (And promises she didn’t cheat.)
‘Push and pull and stumble; pain and discomfort’: Lilith Wozniak reviews a show by Osaka-based collective Contact Gonzo at Bristol’s Mayfest.
Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show
Dream on: Rosemary Waugh reviews a new work-in-progess from The Plasticine Men about selling cars to the Indian market
‘Mounting claustrophobia’: Tracey Sinclair reviews Patrick Hamilton’s classic, as part of the Brighton Fringe 2018.
‘Teetering on the edge’: Maria Iu reviews the Julie Cunningham Company’s version of Sarah Kane’s Crave
Storybook kings and queens: Rosemary Waugh reviews George Benjamin and Martin Crimp’s new opera, directed by Katie Mitchell
‘A pocket version of the classic Scots ‘ceilidh play’’: David Pollock reviews a piece of verbatim theatre based on farming in Perthshire
A murky moral world: Kali Theatre’s new writing festival boasts a well-researched work-in-progress from Rukhsana Ahmad.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
Different hymn sheets: writer Rajiv Joseph and director Lisa Spirling don’t see eye to eye in this spiralling history of Russia.
Rivetingly dark: Junk Ensemble’s dance-theatre reimagining of Vladimir Nabokov’s Lolita is thrilling and revelatory.
With witnessing comes responsibility: Tinuke Craig’s double-bill debbie tucker green revival forces its audience into a community.
Defiance as superpower: Freddie Machin reviews Rachael Young’s new show about Afrofuturism and the cult of Grace Jones
Lee Anderson reviews “cyborg theatre” by Susanne Kennedy