Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.
Bodies in a movement: Maddy Costa writes on Coletiva Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels
Elegantly wasted: Rosemary Waugh writes on Tony Kushner’s elaborate, infuriating rewrite of Friedrich Dürrenmatt’s play.
Tangled roots: J N Benjamin writes on Roy Williams and Clint Dyer’s exploration of working class culture.
Casting a shadow: Hailey Bachrach writes on the moving darkness of Tom Stoppard’s study of Jewish identity.
Splash splosh: Naomi Obeng reviews Reckless Sleepers’ inviting, restless, weather-themed children’s show.
Gods and myths: Ben Kulvichit reviews a double bill of shows about spirituality and Black representation, and queering Greek mythology.
“relentlessly forwards forwards forwards”: Alice Saville writes on Alistair McDowall’s warpspeed cradle-to-grave monologue, as performed by Kate Flynn.