Social media stormclouds: Louise Jones writes on the Facebook livestream of Kieran Hurley’s student activism drama.
A starting gun: Ava Wong Davies on Robert LePage’s epic but flattening narrative of suffering and resilience.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
I could do so much more: Ben Kulvichit reviews Chris Bush’s ambitious, time travelling reinterpretation of Doctor Faustus.
The price of freedom: Joseph Winer reviews Mike Bartlett’s baby boomer satire, 10 years after it first premiered.
‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
‘An odyssey in miniature’: Hannah Greenstreet writes on E.V. Crowe’s new play about a woman whose life spirals out of control when she loses a shoe.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
‘This trying is pointed at you, because the show felt pointed at me for once’: Frey Kwa Hawking writes on Sylvan Oswald’s ‘theatrical essay’ about transness and love.
Sinking in: Ava Wong Davies writes on Georgia Green’s production of Josh Azouz’s ‘tender, exposing’ play, which explores an unfolding relationship through a religious ritual.