How the light gets in: Frey Kwa Hawking reviews Tinuke Craig’s revival of Bryony Lavery’s gentle comedy about light and life shared between friends.
Outside in: Frey Kwa Hawking writes on the second of the Orange Tree’s livestreamed collection of short plays, which ‘draw a thick line between where we’ve come from and where we’re going’.
“A whole world between my fingers”: An expansive story about food (in)security and seedbanks sprouts from No Stone Theatre’s podcast, writes Frey Kwa Hawking.
‘To be responsive is to be quick on your feet but no less considered for it’: Frey Kwa Hawking writes on Roy Williams and Clint Dyer’s agile sequel to Death of England.
Sleeping alone, together: Frey Kwa Hawking writes on Robert Softley Gale’s ‘extremely localised but fiercely expansive’ digital performance moving through his bedtime routine.
‘This trying is pointed at you, because the show felt pointed at me for once’: Frey Kwa Hawking writes on Sylvan Oswald’s ‘theatrical essay’ about transness and love.
Are we alone? Frey Kwa Hawking writes on Frantic Assembly’s ‘unwieldy’ new show that constellates characters in grief and loneliness.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
How does your garden grow?: Frey Kwa Hawking digs into Mike Bartlett’s leafy exploration of Englishness.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
‘An avalanche of years’: Frey Kwa Hawking writes on Alexandra Wood’s naturalistic depiction of the relationships between sisters over forty years.
“I grin hard enough to hurt”: Frey Kwa Hawking writes on the joys and agonies of Mike Lew’s high school Shakespeare.
‘It’s time to wank jubilantly with a cross’: Frey Kwa Hawking writes on Breach’s exuberant retelling of the sexual adventures of a 14th century nun.
Flights of fancy: Frey Kwa Hawking writes on a whimsical staging of the 2001 Parisian romcom.
‘Show me where you fit’: Frey Kwa Hawking writes on Bijan Sheibani’s new play exploring the reconnection of two brothers.