Am I overthinking this? Ben Kulvichit writes a footnoted response to Lewys Holt’s duo of performances.
Undone, unmade: Lilith Wozniak writes on the reversible and irreversible changes of Ontroerend Goed’s palindromic new show.
Brendan Macdonald responds to Harry Clayton-Wright’s sex-positive coming-of-age performance with a (hypothetical) letter to his mum.
Glistening power: Ava Wong Davies writes on an exploration of blackness and queerness.
“A duet of reluctance and pleasure”: Hannah Greenstreet writes on Tim Crouch’s delicate book-based interactive performance.
Raw and clandestine: Louise Jones writes on Catherine Hoffmann’s musical about under-discussed gynaecological conditions.
Power crazy: Rosemary Waugh writes on how Korean company Cho-in theatre turn Macbeth into a fierce metaphor for ambition.
Human and complicated: Brendan Macdonald writes on Daf James’ adoption narrative.
A dialogue review of Edinburgh fringe’s sights, shows and smells by Joakim (aged five) and Katarina (aged three-and-a-half).
(Un)sexy times: Alice Saville writes on a blunt exploration of female arousal.
True crimes: Hannah Greenstreet writes on a show that attempts to examine why women are drawn to serial killer stories.
A white cube: Rosemary Waugh writes on a visual art-inspired performance by choreographer Yen-Cheng Liu.
Stardust and dreams: Duška Radosavljević writes on a powerful, otherworldly piece of gig theatre.
Warm, breathless, sour; Brendan Macdonald writes on Alanna Mitchell’s dramatic diagnosis of the earth’s changing oceans.
Greasepaint and glitter: Dave Fargnoli writes on the dystopian kitsch of Nick Field’s solo performance.