“I honestly felt like I was being slapped around the face for 80 minutes.” Emily Davis finds that Lucinda Coxon’s play is a confronting return to the theatre.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.
“I feel like a giant child”: Emily Davis is delighted by the NT’s magical fantasy musical.
Revelling in mess: Emily Davis writes on Ell Potter and Mary Higgins’ exploration of masculinity and their relationship to it.
‘A glimpse of what the world could look like if everything were simpler and the people were kinder’: Emily Davis wells up at Hackney Empire’s Windrush-inspired pantomime.
‘A stumble off the path, into a crack in the ground’: Emily Davis writes on a new adaptation of Knut Hamsun’s book and the politics of the decision to programme it.
Teetering around the edges: Emily Davis writes on Rachel Mars and Greg Wohead’s exploration of plot holes and holes in the walls.
‘What does it mean to write a play about race?’ Emily Davis writes on Cassiopeia Berkeley-Agyepong and Simone Ibbett-Brown’s knotty, metatheatrical play.
Pushing back the tide: Emily Davis writes on Florian Zeller’s study of depression.
“A chocolate box of bite-sized folk tales”: Emily Davis writes on sampling 1927’s work for the first time.
Never-ending drama: Emily Davis is delighted by Hannah Maxwell’s nostalgic show about a longstanding amateur dramatics society.
“Silence. And tea”: Emily Davis responds to Charlotte Josephine’s precise portrayal of a father-daughter relationship.
Holding up a mirror: Emily Davis writes on Scottee’s new performance ‘for’ middle class audiences.
“Sex is an exclamation mark”: Emily Davis writes on Louise Orwin’s startling exploration of female sexuality.
Take my hand: Emily Davis writes on Crystal Clear, an accessible but dated romance focusing on a partially-sighted couple.