‘Waspish, punchy and imagistic’: Lily Levinson writes on Niqabi Ninja, an audio-guided walk that casts light on misogynistic violence and street harassment.
Touching the void: Brendan Macdonald writes on Dante or Die’s interactive exploration of touch, which is a reminder of theatre’s ‘ability to provoke deep, intimate connections between audience and performer’.
Mert Dilek writes on Dawn Walton’s revival of Alfred Fagon’s incendiary play, ‘a crucible in which questions of race, class, and gender intermingle’.
Plays pleasant: Lily Levinson finds the plays in Paul Miller’s latest George Bernard Shaw production ‘solid chortlers’ if not ‘searingly urgent’.
Eye contact: James Varney writes on liveness in Rob Drummond’s unsettling, loss-tinged open mic night.
A mood: Ben Kulvichit writes on an audio piece which invites the listener on a stroll in the rain.
Cooking without a recipe: Naomi Obeng writes on a Malaysian and UK co-production about living across two cultures.
“I seancÃ©d my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.
‘Dream logic’: Naomi Obeng writes on Encounter’s strange, sad study on grief, reimagined as a filmed site-specific performance.
Queer longings: Gemma Lawrence’s play charts a lockdown romance forged at a distance.
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.