‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.
Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
‘A dark wonderland’: Aniqah Choudhri finds beauty in the flamenco, vaginas and talking toilets of Caroline Horton’s new family show.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.
Someday, somewhere: Catherine Love on what Sarah Frankcom’s fresh, stark revival of West Side Story has to say about the world the young inherit.
Bad parenting: James Varney writes on the ambiguous critical outlook of David Judge’s autobiographical monologue on race and fatherhood.
Mixed messages: Aniqah Choudhri reviews a dystopian, future-set adaptation of Brecht’s political parable.
‘Queer politic as positive philosophy’: James Varney on how Gareth Cutter’s solo show fits in a wider culture of Queerness and performance.
The woods for the trees: James Varney writes on scale and perspective in James Monaghan’s solo piece, from his viewpoint as an embedded critic.
‘Its polemic is potent’: James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
“I hope it’s stupid”: James Varney on the skill of being an idiot in a Dutch company’s tribute to the great entertainers.
‘Shimmer and sparkle’: Catherine Love reviews an unlikely Christmas show which delights as much as it unsettles.
Skirting around sharp edges: James Varney reviews an all-male production of Jean Genet’s The Maids which doesn’t quite deliver on its promises.
‘A myth sceptical of myths’: James Varney writes on place and ownership in Chris Thorpe’s cycle of contemporary Mystery plays.
‘Dream space’: Catherine Love reviews Sarah Frankcom’s fresh, insightful take on the 20th Century American staple