Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
A starting gun: Ava Wong Davies on Robert LePage’s epic but flattening narrative of suffering and resilience.
‘An odyssey in miniature’: Hannah Greenstreet writes on E.V. Crowe’s new play about a woman whose life spirals out of control when she loses a shoe.
‘This trying is pointed at you, because the show felt pointed at me for once’: Frey Kwa Hawking writes on Sylvan Oswald’s ‘theatrical essay’ about transness and love.
The reluctant critic: Brendan MacDonald writes on Christopher Green’s tricksy performance of a crisis of faith in theatre.
Are we alone? Frey Kwa Hawking writes on Frantic Assembly’s ‘unwieldy’ new show that constellates characters in grief and loneliness.
Food fight: Mert Dilek writes on Gillian Greer’s exploration of appetites and consent.
Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.
Bodies in a movement: Maddy Costa writes on Coletiva Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.
Elegantly wasted: Rosemary Waugh writes on Tony Kushner’s elaborate, infuriating rewrite of Friedrich Dürrenmatt’s play.
Gods and myths: Ben Kulvichit reviews a double bill of shows about spirituality and Black representation, and queering Greek mythology.
Nora, in triplicate: Hannah Greenstreet writes on the historical and economic themes of Stef Smith’s reimagined ‘A Doll’s House’.
Tangled tapes: Brendan Macdonald writes on Florencia Cordeu’s autobiographical exploration of Argentinian history through cassette tapes.