Gods and myths: Ben Kulvichit reviews a double bill of shows about spirituality and Black representation, and queering Greek mythology.
Tangled tapes: Brendan Macdonald writes on Florencia Cordeu’s autobiographical exploration of Argentinian history through cassette tapes.
Hacked off: Hailey Bachrach reviews Al Blyth’s ‘briskly-plotted political drama’ about online surveillance.
Come fly with me: Ava Wong-Daves and her 11-year-old niece team up to review Roland Schimmelpfennig’s insect-based show.
‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamouâ€™s sonic theatre experiment exploring monstered bodies.
‘Does love with boys always make you banal?’ Frey Kwa Hawking writes on Miriam Battye’s ‘millennial pink’ new play.
Kaleidoscopic haunting: Mert Dilek writes on Ellen McDougall’s dense adaptation of Valeria Luiselli’s spectral novel.
Burial rites: Hannah Greenstreet writes on Lulu Raczka’s sensitive new version of Sophocles’ tragedy that focuses on its sisters.
Broken spokes: Simon Gwynn reviews Athena Stevens’ ‘amusing, provocative’ exploration of ‘the shit disabled people have to deal with day in, day out’.
Under the microscope: Brendan MacDonald writes on Sarah Gordon’s tender but familiar play about two lovers seeking closure.
Circus at the end of the world: Maddy Costa writes on Ockham Razor’s intergenerational aerial collaboration.
‘An avalanche of years’: Frey Kwa Hawking writes on Alexandra Wood’s naturalistic depiction of the relationships between sisters over forty years.
“Yes, it’s a Brexit play”: Ava Wong Davies writes on the warm-hearted bluntness of Mike Bartlett’s story of intergenerational conflict.