The reluctant critic: Brendan MacDonald writes on Christopher Green’s tricksy performance of a crisis of faith in theatre.
Tangled tapes: Brendan Macdonald writes on Florencia Cordeu’s autobiographical exploration of Argentinian history through cassette tapes.
Under the microscope: Brendan MacDonald writes on Sarah Gordon’s tender but familiar play about two lovers seeking closure.
Dizzying depths: Brendan Macdonald writes on Eve Leigh’s plunge into life online.
Overshadowed: Nicola Wren’s monologue explores what it’s like to pursue stardom when you’ve got a famous sibling.
A rallying cry for freedom of the press: Brendan MacDonald writes on the stage adaptation of journalist Can Dündar’s account of his imprisonment.
Last orders: Brendan Macdonald reviews Anna Jordan’s play that transforms the Bunker into a working pub.
Bearing witness: Brendan MacDonald writes on Dael Orlandersmith’s powerful one-woman show, constructed from interviews conducted following the shooting of Michael Brown.
Brendan Macdonald responds to Harry Clayton-Wright’s sex-positive coming-of-age performance with a (hypothetical) letter to his mum.
Human and complicated: Brendan Macdonald writes on Daf James’ adoption narrative.
Warm, breathless, sour; Brendan Macdonald writes on Alanna Mitchell’s dramatic diagnosis of the earth’s changing oceans.
‘A blistering and entertaining examination of the privilege of disengagement’: Brendan Macdonald writes on Gabriel Bisset-Smith’s semi-autobiographical play.
In the bedroom: Brendan Macdonald reviews Kenny Emson’s rule-bound new play exploring the dynamics of an affair.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘Grainy portraits’: Brendan MacDonald reviews Tom Ratcliffe’s new play, which explores the ‘struggle to find long-lasting love’ as a gay man.