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’.
‘Trapped by circumstances’: Simon Gwynn reviews Elin Schofield and Eve Cowley’s monologue about a female prison guard.
Take Me Online: Andrew Edwards reviews a selection of transporting works from Glasgow’s festival of performance and live art.
Material world: Ben Kulvichit reviews Rosana Cade and Ivor MacAskill’s adaptation of Pinocchio as an autobiographical gender transition allegory.
Returning ritual: Mostyn Jones writes on Abigail Conway’s participatory candle ceremony for turbulent times.
Money talks: Lily Levinson encounters a fractious interactive show about cash and collective decision making.
Open wounds: Sally Hales reviews Lisa Parry’s allegorical play about a “left-behind” Welsh town.
Sheltering in place: Alice Saville reviews Amy Berryman’s log cabin drama, set against a backdrop of global climate crisis.
Joyful scenes: Alice Saville’s illustrated review sketches the magic of Sean Holmes production, as it reopens The Globe.
‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
Alternative living: Maddy Costa shares her correspondences with friends about Anna Rispoli and Martina Angelotti’s show about four radical European collectives.
Plays pleasant: Lily Levinson finds the plays in Paul Miller’s latest George Bernard Shaw production ‘solid chortlers’ if not ‘searingly urgent’.
Who tells your story? Brendan Mcdonald reviews Jack Holden’s debut play, a true story of a wild night out in gay Soho he heard while working on an LGBTQ+ helpline.
‘Somebody else’s gravity’: Lilith Wozniak writes on Raquel Meseguer Zafe’s audio piece exploring invisible illness and resting in public.
“I honestly felt like I was being slapped around the face for 80 minutes.” Emily Davis finds that Lucinda Coxon’s play is a confronting return to the theatre.