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Hannah Greenstreet


Hannah is a writer, academic and theatre critic. She is London Reviews co-Editor for Exeunt, with a focus on fringe and Off-West End theatre. She is researching an AHRC-funded PhD on contemporary feminist theatre and realism at the University of Oxford. She is also a playwright and has worked with Soho Writers' Lab, the North Wall Arts Centre, and Menagerie Theatre Company.


Articles by Hannah Greenstreet


Review: Grey at Ovalhouse
7 July 2019
Reviews • OWE & Fringe

Review: Grey at Ovalhouse

27 June - 13 July
By Hannah Greenstreet

‘Depression is not poetic’: Hannah Greenstreet writes on Koko Brown’s show about depression, which combines spoken-word, vocal looping and BSL.


Review: Armadillo at the Yard
9 June 2019
Reviews • OWE & Fringe

Review: Armadillo at the Yard

30th May - 22nd June
By Hannah Greenstreet

‘Jagged flashes of the hyperreal’: Hannah Greenstreet reviews Sarah Kosar’s new play, which explores a woman’s complicated relationship with guns.


Review: Jude at Hampstead Theatre
9 May 2019
Reviews • OWE & Fringe

Review: Jude at Hampstead Theatre

By Hannah Greenstreet

Liberal tragedy: Hannah Greenstreet reviews Jude, ‘a stylistically muddled’ take on Thomas Hardy’s Jude the Obscure.


Review: Top Girls at the National Theatre
5 April 2019
Reviews • West End & Central

Review: Top Girls at the National Theatre

By Hannah Greenstreet

“If Caryl Churchill can’t have a large cast, who can?”: Hannah Greenstreet’s tripartite response to Top Girls explores its place in the theatre canon.


Review: Grief is the Thing with Feathers at the Barbican
31 March 2019
Reviews • OWE & Fringe

Review: Grief is the Thing with Feathers at the Barbican

By Hannah Greenstreet

Black feathers on your pillow: Hannah Greenstreet writes on Enda Walsh’s scratchy, crow-filled exploration of mourning.


Review: Wolfie at Theatre 503
27 March 2019
Reviews • OWE & Fringe

Review: Wolfie at Theatre 503

By Hannah Greenstreet

‘An urgent howl of social responsibility’: Hannah Greenstreet reviews Ross Willis’ magical realist new play about twins in the care system.


An Emilia Dialogue
25 March 2019
Features

An Emilia Dialogue

By Hannah Greenstreet

As Emilia hits the West End, Hannah Greenstreet and Amy Borsuk discuss its metatheatricality, its Jewish parallels, its role as feminist historical fiction, and more.


Review: SEX SEX MEN MEN at the Yard Theatre
1 March 2019
Reviews • OWE & Fringe

Review: SEX SEX MEN MEN at the Yard Theatre

26th February - 16th March
By Hannah Greenstreet

‘A plethora of pleasurable acts, presented with nuance, gender-theory and heart’: Hannah Greenstreet writes on Pecs Drag Kings’ show exploring the seepage of gender binaries.


Review: Berberian Sound Studio, Donmar Warehouse
17 February 2019
Reviews • OWE & Fringe

Review: Berberian Sound Studio, Donmar Warehouse

8th February - 30th March
By Hannah Greenstreet

The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood’s chilling exploration of cinematic horror and aural illusions.


When we have sufficiently tortured each other, at the National Theatre
24 January 2019
Reviews • West End & Central

When we have sufficiently tortured each other, at the National Theatre

By Hannah Greenstreet

Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell’s phallocentric new exploration of gender roles.


Review: The Cane at the Royal Court
18 December 2018
Reviews

Review: The Cane at the Royal Court

6th December - 26th January
By Hannah Greenstreet

A reckoning: Mark Ravenhill’s new play is a naturalistic, troubling exploration of history and abuses of power.


Nick Field: “Neoliberalism is collapsing around us”
26 November 2018
Features • Q&A and Interviews

Nick Field: “Neoliberalism is collapsing around us”

By Hannah Greenstreet

Artist Nick Field is bringing two new shows to CPT. He chats to Hannah Greenstreet about neoliberalism, Tom Baker, and making work that’s “pretty damn queer”.


Review: The Funeral Director at Southwark Playhouse
8 November 2018
Reviews • OWE & Fringe

Review: The Funeral Director at Southwark Playhouse

Until 24th November
By Hannah Greenstreet

Depth and complexity: Hannah Greenstreet writes on Iman Qureshi’s Papatango Prize-winning play.


Review: Moot Moot at The Yard Theatre
1 November 2018
Reviews • OWE & Fringe

Review: Moot Moot at The Yard Theatre

30th October - 10th November
By Hannah Greenstreet

Feedback loops: Rosana Cade and Ivor MacAskill’s show is a surreal exercise in repetition.


Edinburgh Review: WHITE at Pleasance Courtyard
21 August 2018
Reviews • Edinburgh Fringe 2018 • Reviews

Edinburgh Review: WHITE at Pleasance Courtyard

By Hannah Greenstreet

WHITE is a well-crafted and nuanced interrogation of ‘the mixed-race experience.’


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