You and I, here and there: Ben Kulvichit responds to Jo Fong and Sonia Hughes’ participatory piece by setting a timer for six minutes.
Speaking out: Lilith Wozniak reviews a new play from National Theatre Wales about abortion and the dangers of silence, set between Ireland and Wales.
Down memory lane: Hoipolloi’s last entry in their Loose Change Trilogy features Shôn Dale-Jones’ alter-ego and reconstructed memories of his late father.
‘Battered but not broken’: Tracey Sinclair writes on a confronting adaptation of Khaled Hosseini’s novel set in war-torn Kabul.
Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
Stark reminder: Tracey Sinclair writes on Abbot Dance Theatre’s commemoration of the women’s suffrage movement.
‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.
Odd occurrences: John Murphy reviews a surreal, funny adaptation of Finnish director Aki Kaurismäki’s 2002 film.
Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
Shine on: Lauren Vevers reviews a galvanising coming-of-age story from rapper and actor Kema Sikazwe.
‘A magic box of delights’: Tracey Sinclair reviews Frozen Light’s tactile, sensory show for audiences with profound and multiple learning disabilities.
Stitching stories: Catherine Love on Paula Varjack’s complicated love letter to fashion.
Deep cuts from DJ Anglerfish: Lilith Wozniak on The Wardrobe Ensemble’s latest instalment in their Seekers series for younger years.