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This is certainly something different to the majority of the festival’s shows: rather than a traditional show, it is a scavenger hunt/immersive promenade show, put on by established compan…
Breffni Holahan delivers Margaret Perry’s script for Collapsible with an unrelenting energy that starts high and reaches stratospheric levels.
Dad’s Army Radio Show is every bit as quaint as Godfrey’s sister’s cucumber sandwiches and every bit as cosy and comfortable as one of Pike’s scarves.
Jodie Irvine poignantly uses a great deal of humour to address the social awkwardness and loneliness of 21st-century living in Gobby.
Through movement, moments of perfect clowning, and almost-unending feasting, the Drop Dead Gorgeous ensemble transpose the female experience and made it a tangible thing that you feel you co…
Push is a one-woman show centred on one woman’s story, and its sense of universality will be welcome to those who experience the pressure to have, or not have, children.
If a piercing performance of the mind is something you are after, you will not be disappointed with VOiD at the Vault Festival, London.
Full Disclosure has created an ensemble piece in Body Talk that weaves the characters’ lives together with the sensitivity and playfulness that these subjects require.
Amantha Edmead is a marvel to watch in Sold, a piece that embraces it all, packing this story of family separation, numerous masters & a quest for freedom into an hour.
Female friendship is such a fickle, flighty thing so difficult to get right, and Miriam Battye nails both its positives and negatives in Scenes With Girls.
Whilst the script for Faces In The Crowd demands unwavering focus and attention in order to not get lost, women’s individuality, voice and their suppression by patriarchal systems are prof…
Oily Cart, the creators of All Wrapped Up, makes gently immersive, highly sensory performances for people under five years old, and people with complex needs.
Despite the issues, the script’s range of influences and forms, combined with great performances, result in a generally strong production of Fix at the Pleasance Theatre.
The melancholic, Irish music performed by actor-musicians and the almost-love story set Once apart from the bold, brash showiness of musicals that stick more closely to traditional forms.
I Wanna Be Yours at the Bush Theatre speaks to younger and older people navigating an unjust world, and reminds the privileged among us of the constant learning we have to do.
With the stalls audience standing and the performers clamouring through the crowd and onto the stage, Kneehigh’s staging of Ubu! evokes a gig, a party and a political rally all in one.
Comedy and vulgarity join forces as Lucy McCormick chronicles history’s strong women in Post Popular at the Soho Theatre.
Stories swirl around each other in Midnight Movie at the Royal Court, growing and fading like variations on a theme in a piece of classical music. It’s heady and disorientating, like a sur…
There is a disconnect between the direction and the script that permeates this production of Dirty Crusty at The Yard Theatre.
On Bear Ridge, Ed Thomas’ story of being left behind and trying to hold onto the memories that give us a sense of self, is crafted at the Royal Court Theatre with care and sensitivity.
There’s a lot to process in For All the Women Who Thought They Were Mad, and it requires active listening and embracing the unfamiliar, but it is visually striking, intimate and reflective.
The Ice Cream Boys is an informative glimpse into South African politics and racial issues but it’s not clear what message the audience is meant to take away.
Combined with the big questions it raises on compromising one’s beliefs, Mephisto [A Rhapsody] confronts classism, racism and lack of political action in the UK today, both in the arts and…
Seeing a group of trans and non-binary people claim space like this in We Dig at Ovalhouse and openly share and reflect on the lives of trans people past and present is beautiful and importa…
Before Jonathan Larson’s iconic musical Rent took the world by storm, there was the autobiographical show, Tick, Tick…Boom!
As a body of work, Caryl Churchill’s four plays Glass. Kill. Bluebeard. Imp complement each other well and offer a bold social commentary that is dark, foreboding and surreal.
Chiaroscuro is a relevant, moving production, addressing issues of sexuality and identity & focusing on characters that are often left out of theatrical narratives. It is a vital and vib…
Though the design is superb, the kids are both adorable and excellent performers, and McGuiness’s work is solid, the appalling storyline of Big and its tone-deafness can get in the bin.
“Fame!” – we all know the infamous song. The lyrics, “I’m gonna live forever, I’m gonna learn how to fly, HIGH” are not well known just because of the original 1980 film, but b…
Jade City is a powerful play confronting the consequences of the UK’s lack of social mobility and opportunity.
This portrayal of contemporary family life dealing with depression is honest and believable in The Son, yet there’s a cold judgement underpinning it.