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