An invitation to write: Eve Allin pens poems in response to Tim Crouch’s story of Cinna the Poet, Shakespeare’s most hard-done-by character.
Nora, in triplicate: Hannah Greenstreet writes on the historical and economic themes of Stef Smith’s reimagined ‘A Doll’s House’.
Tangled tapes: Brendan Macdonald writes on Florencia Cordeu’s autobiographical exploration of Argentinian history through cassette tapes.
Hacked off: Hailey Bachrach reviews Al Blyth’s ‘briskly-plotted political drama’ about online surveillance.
Come fly with me: Ava Wong-Daves and her 11-year-old niece team up to review Roland Schimmelpfennig’s insect-based show.
‘I felt like a wild-eyed child, riveted by strange life happening’: Naomi Obeng writes on People Show’s surrealist collection of ideas and images in their 137th show.
How does your garden grow?: Frey Kwa Hawking digs into Mike Bartlett’s leafy exploration of Englishness.
“Existential crisis averted, for now”: Sally Hales writes on the welcome humour of Richard Jones’s take on Beckett.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
‘An America that tears itself apart from the inside’: Louise Jones reviews imitating the dog’s shot-for-shot live remix of George Romero’s horror movie.
‘A sugary surface with an achingly bitter aftertaste’: Ava Wong Davies writes on Oscar Toeman’s revival of Lucy Prebble’s play about chatrooms and an unlikely friendship.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
As Fairview’s UK run ends, Naomi Obeng charts her conflicting reactions to Jackie Sibblies Drury’s play. [contains spoilers]
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
Singing like an open wound: Emily Davis writes on Eirini Kartsaki and Tasos Stamou’s sonic theatre experiment exploring monstered bodies.