All a bit shallow: Crystal Bennes feels there’s something missing in Richard Marsh’s messianic poetry play.
How do you mourn someone you have never met? – Hannah Greenstreet reviews Selina Thompson’s powerful interrogation of the legacy of slavery.
Suitable for lactose intolerances: Dylan Coburn Gray’s new romcom about online dating is sharp, satisfying and utterly cheese free.
The trouble with human progress: Crystal Bennes reviews New Diorama Theatre’s inspired take on Yuval Harari’s Sapiens.
The suffering of one or the agony of the many? Crystal Bennes on the complex moral dilemmas of Argonaut’s new play.
Lighting up: Rosemary Waugh reviews a new adaptation of Anton Chekhov’s On the Harmful Effects of Tobacco.
Snap your shag bands and dance to Steps: Rosemary Waugh reviews the Wardrobe Ensemble’s new show about New Labour.
Puzzling but enjoyable: Hannah Greenstreet on Antler’s bouncing tragi-comedy.
Watching through my fingers – Hannah Greenstreet on Milly Thomas’s new plays and theatre’s duty of care.
“A surprisingly tender theatrical experiment”: Hannah Greenstreet reviews YESYESNONO’s exploration of intimacy.
‘Excellent’, ‘astonishing’, ‘devastating’ and all the rest: Rosemary Waugh reviews the return of Yael Farber’s Mies Julie to the Edinburgh Fringe.
Lyrical, joyous and vital – Hannah Greenstreet on the National Theatre of Scotland’s two stories about trans experience.
Have you tried…? Rosemary Waugh reviews Rachel Bagshaw and Chris Thorpe’s show about living with chronic pain.
Monica Dolan’s one woman show is a deliberately un-sensationalised exploration of how children are sexualised.
Dissonance and vocal fry – Hannah Greenstreet on a performance that explores gendered speech.