Never-ending drama: Emily Davis is delighted by Hannah Maxwell’s nostalgic show about a longstanding amateur dramatics society.
Exeunt is proudly flying the flag for longform criticism at the fringe. Too busy to read it all? Here’s a handy digest of the shows our writers love.
A muddled myth: Crystal Bennes writes on Sheila Atim’s Cleopatra-inspired debut play.
Contagious buoyancy: Ava Wong Davies writes on a time-slipping narrative of gender, love and swimming.
Rum-bunctious times: Ava Wong Davies writes on Sh!t Theatre’s boozy but intensely political dive into life in Malta.
An imbalance of power: Rosemary Waugh writes on Victor Fung’s dance duet, and its shifting political context.
Crackpot theories: Hannah Greenstreet writes on Barrel Organ’s devised, sketchy look at post-truth logic.
“Silence. And tea”: Emily Davis responds to Charlotte Josephine’s precise portrayal of a father-daughter relationship.
Henry Naylor’s play is a flawed look at the media outrage surrounding ‘Jihadi bride’ Shemima Begum.
All in my head: Hannah Greenstreet writes on Kit Redstone’s exploration of living with multiple personalities.
Boxed in: Alice Saville writes on a disconcerting, robot-led dive into Amazon’s fulfilment policies.
Holding up a mirror: Emily Davis writes on Scottee’s new performance ‘for’ middle class audiences.
“This show does not make sense”: Dave Fargnoli writes on The Outbound Project’s devised exploration of collective psychosis.
Are we really post-feminism? Hannah Greenstreet writes on an irony-heavy exploration of the plight of men.
Scalpel-like precision: Ben Kulvichit writes on Demi Nandhra’s solo exploration of depression.