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 Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels
Elegantly wasted: Rosemary Waugh writes on Tony Kushner’s elaborate, infuriating rewrite of Friedrich Dürrenmatt’s play.
Tangled roots: J N Benjamin writes on Roy Williams and Clint Dyer’s exploration of working class culture.
Casting a shadow: Hailey Bachrach writes on the moving darkness of Tom Stoppard’s study of Jewish identity.
Splash splosh: Naomi Obeng reviews Reckless Sleepers’ inviting, restless, weather-themed children’s show.
Gods and myths: Ben Kulvichit reviews a double bill of shows about spirituality and Black representation, and queering Greek mythology.
“relentlessly forwards forwards forwards”: Alice Saville writes on Alistair McDowall’s warpspeed cradle-to-grave monologue, as performed by Kate Flynn.
‘Teenage dreamscape’: Lauren Vevers reviews The Paper Birds’ irreverent, nostalgic gig-theatre piece drawn from letters written by teenagers.