A soaring voice: Emily Davis writes on Nell Leyshon’s new play that captures ‘how it feels to sing and love singing’ through the history of folk songs.
Politics on a small screen: Emily Davis grapples with James Graham’s play about two pioneering political pundits.
A difficult birth: Emily Davis writes on Mathilde Dratwa’s ‘playful and confident’ new play that brings together the personal and the political in the Trump era.
Waking nightmare: Emily Davis writes on Morgan Lloyd Malcolm’s ‘panic-strewn and nightmarish’ exploration of ‘some of the worst things that a parent could imagine happening’.
A richer and more complex beast: Emily Davis reviews the stage version of the beloved Disney movie.
Emotional eating: Emily Davis writes on Chris Bush’s incisive new play, exploring the tangled relationship between food, class and community.
If I Loved You: Emily Davis reviews Timothy Sheader’s outdoor production of Carousel, which leans into the knottiness of the musical’s themes.
“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.