Boaz Barkan’s performance-lecture explores the struggle to put dance into words.
A slightly jumbled jumbo: Hailey Bachrach is unconvinced by a one woman adaptation of Michael Morpurgo’s elephant tale.
Language is the weapon of choice: Crystal Bennes reviews a school-set play about learning difficulties and parent-teacher confrontations.
Claim, revel, destroy, subvert, love: Rosemary Waugh reviews Samira Elagoz’s verbatim show about rape and men’s reactions to her.
Inheritance, rejection, stasis: Ava Davies reviews Living House Theatre’s playful take on art and history.
Voices have to be heard: Eve Allin on why this well-meaning political piece doesn’t tell the whole story.
A society, torn down: Katherina Radeva’s solo show asks questions about the kind of world we want to live in.
Just plain fun: Crystal Bennes on a riotously camp version of Bram Stoker’s blood-sucking horror classic.
Olympian struggles: Henry Naylor’s play explores the histories of two female German Jewish athletes.
No names, no regrets, and no refunds: Freddie Machin reviews Reuben Kaye and The Swizzle Boys.
Hailey Bachrach reviews Kit Finnie’s solo show that promises ‘a feminist ghost story’.
Hailey Bachrach reviews a musical version of ‘the perennially adapted tale of a dude who had one job’.
‘Padded and glittering’: Hailey Bachrach reviews the musical take on Marvel.
Deep and rich and jagged: Ava Davies on ThisEgg’s fluid exploration of bodies and trauma.
None of this has to be true: Eve Allin reviews Poltergeist Theatre’s sci-fi show.