Let there be light: Hannah Greenstreet reviews Alistair McDowall’s dazzling new play.
New writing, old tropes: Hannah Greenstreet reviews an overly reverent backward-looking take on the story of formidable literary agent Peggy Ramsay.
‘There is a kind of pleasure in judging other people’: Hannah Greenstreet writes on Mike Bartlett’s monologue exploring social mores in lockdown.
En garde: Hannah Greenstreet writes on Gracie Gardner’s ‘poised, a little weird and deeply funny’ play about a friendship between two teenage fencers.
Ripples from the past: Hannah Greenstreet writes on Winsome Pinnock’s epic new play exploring the legacies of Britain’s role in the transatlantic slave trade.
A festering wound: Hannah Greenstreet writes on Kae Tempest’s ‘savagely poetic’ adaptation of Philoctetes by Sophocles.
Dispatches: Hannah Greenstreet reviews Shaan Sahota’s play informed by her experience as a junior doctor on a Covid ward.
Hot off the press: Hannah Greenstreet reviews the Royal Court’s eclectic online experiment in rapid-response theatre.
Sing me to sleep: Hannah Greenstreet reviews an unsettling, discordant set of stories from English Touring Theatre.
“You must awake your faith”: Hannah Greenstreet writes on the Old Vic’s livestreamed production of Faith Healer with Michael Sheen.
Echoes through time: Hannah Greenstreet writes on her encounters with Alice Birch’s haunting exploration of intergenerational trauma.
Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
‘An odyssey in miniature’: Hannah Greenstreet writes on E.V. Crowe’s new play about a woman whose life spirals out of control when she loses a shoe.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.
Nora, in triplicate: Hannah Greenstreet writes on the historical and economic themes of Stef Smith’s reimagined ‘A Doll’s House’.