Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
“This is Shakespeare as petty playground squabble, rather than stately struggle for the throne” – Fergus Morgan writes on Joe Hill-Gibbins’ punchy, political Richard II.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”
‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.
Flickering flames: Amy Borsuk writes on a production of Shakespeare’s tragedy that makes artful use of candlelight.
Courage Everywhere, the NT’s celebration of 100 years since (partial) womens’ suffrage, begins with a powerful new play from Graeae.
Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
We dreamed a dream: Exeunt’s writers imagine a takeover of London’s creakiest, most storied theatres.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.
“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.