Home alone: Tracey Sinclair reviews Hannah Sowerby’s one-woman comedy with shades of Alan Bennett and Victoria Wood.
A celebration of the community of Brent: Elete N-F writes on Zadie Smith’s ‘joyous’ contemporary adaptation of The Wife of Bath.
‘I find myself wishing that this production excavated some deeper weirdness’: Frey Kwa Hawking writes on Young Jean Lee’s 2014 play exploring white privilege.
Lasting impressions: Farah Najib writes on Lanre Malaolu’s ‘joyful and hard-hitting’ choreographic interrogation of Black masculinity.
It’s your funeral: Simon Gwynn reviews a clown show made by Ugly Bucket to be performed at a friend’s memorial service.
‘Ebbs and flows’: Lilith Wozniak writes on Heather Agyepong’s meditation on trauma and the body.
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.
Talking therapy: Miriam Sallon writes on Ifeyinwa Frederick’s new play that explores masculinity and depression.
Rescued from obscurity: Fergus Morgan reviews an under-appreciated play by Pedro Calderon, in a sparse, metatheatrical production by Wils Wilson
‘Thick realism’: Mert Dilek writes on Roxana Silbert’s dated revival of Marsha Norman’s ‘grim suicide drama’.
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’.
How it feels: Andrew Edwards reviews a selection of contemporary dance across forms, from installation to interactive performance and film.
Unpredictable weather: Lilith Wozniak reviews a tonally turbulent production from Wise Children starring Lucy McCormick.
Putting in a shift: Angelo Irving reviews Quarantine’s 12-hour mass portrait of the workers of Leeds.
Ghosts from the future: Lilith Wozniak reviews Strike A Light’s show created with youth climate activists from Gloucester.