Monique Grbec on Jacob Boehme’s brave, funny and beautiful multidisciplinary work, Blood on the Dance Floor
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‘In this assertion of humanity lingers the spark that becomes revolution’: Robert Reid on Wild Cherries at La Mama
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‘Cruising through the crank of hip hop, Omar Musa shines like the beautiful beacon he aspires to be’: Monique Grbec on When Ali Died
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‘The level of the audience’s participation in the show, whether it was screams, cheers, boos or bear growls, was something to behold’: youth critic Gully Thompson on Black Honey’s One the Bear
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Autistic critic Jess Flint reviews A_tistic Theatre’s Helping Hands, a show that explores how ‘help’ can sometimes be the opposite
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Most people understand improvisational jazz, but improvisational theatre? Emilie Collyer on Born in a Taxi’s No former performer has performed this performance before
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Podcast: The Witness Interview with Candy Bowers. ‘You are asking someone from the field into the house, and we are going to fight. Because I will always fight to decentralise the white patriarchy’
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How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
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From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
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Emina Ashman’s debut play Make Me A Houri is a compelling and often hilarious picture of female desire in patriarchal society, says Alison Croggon