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 OcupaÃ§Ã£o’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 DÃ¼rrenmatt’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.
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.
“Existential crisis averted, for now”: Sally Hales writes on the welcome humour of Richard Jones’s take on Beckett.
‘A sugary surface with an achingly bitter aftertaste’: Ava Wong Davies writes on Oscar Toeman’s revival of Lucy Prebble’s play about chatrooms and an unlikely friendship.