69 stories by "Hannah Greenstreet"
Bertie Wooster has decided to take to the stage. "I've been to the theatre", he declares, "how hard can it be?" Harder
Ad Infinitum's Extraordinary Wall [of Silence] opens with an arresting history lesson. In 1880, the performers tell us, the Milan Conference ruled
Oxford Playhouse's Beauty and the Beast, written and directed by Steve Marmion, once again serves up all the beloved elements of traditional
Stop Kiss is the first production programmed by Above the Stag's new artistic director Andrew Beckett. Although written in 1998, Diana Son's
It starts with a shipwreck. The Creation Cruise from Milan to Naples is going down and, as actors slalom around the tables
How 'street' is The Wind in the Willows? Metta Theatre's street-dance, musical adaptation transplants the tranquil riverbank and its cast of characterful
'A plethora of pleasurable acts, presented with nuance, gender-theory and heart': Hannah Greenstreet writes on Pecs Drag Kings' show exploring the seepage of gender binaries.
The post Revie…
The screams are real: Hannah Greenstreet writes on Tom Scutt and Joel Horwood's chilling exploration of cinematic horror and aural illusions.
The post Review: Berberian Sound Studio, Donmar …
Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell's phallocentric new exploration of gender roles.
The post When we have sufficiently tortured each other, a…
Rumpelstiltskin, a family Christmas show by Windmill Theatre Company and State Theatre Company on tour from Australia, is wonderfully bizarre. It's a
A reckoning: Mark Ravenhill's new play is a naturalistic, troubling exploration of history and abuses of power.
The post Review: The Cane at the Royal Court appeared first on Exeunt Magazin…
Strictly Come Dancing star Brendan Cole, with his trademark fancy footwork, gleaming smile and plunging neckline, is at the centre of Qdos
'The most millennial millennial': Emily Davis writes on Bebe Sanders' one woman show about an intergenerational friendship
The post Review: Violet at The Bunker appeared first on Exeunt Maga…
This is Phil Willmott's 11th year of writing and directing the pantomime at the Newbury Corn Exchange and he has clearly hit
There'll be some politically fraught conversations round the table this Christmas. Snowflake, the Old Fire Station's Christmas show by Mike Bartlett, explores
Steve Marmion's pantomime brings a taste of London to the Oxford Playhouse stage in his take on Dick Whittington and His Cat.
Artist Nick Field is bringing two new shows to CPT. He chats to Hannah Greenstreet about neoliberalism, Tom Baker, and making work that's "pretty damn queer".
The post Nick Field: “Neo…
In the film that opens John Terry's production of Aladdin, a camel is wandering the streets of Chipping Norton. The villainous Abanazar
Depth and complexity: Hannah Greenstreet writes on Iman Qureshi's Papatango Prize-winning play.
The post Review: The Funeral Director at Southwark Playhouse appeared first on Exeunt Magazine.
Feedback loops: Rosana Cade and Ivor MacAskill's show is a surreal exercise in repetition.
The post Review: Moot Moot at The Yard Theatre appeared first on Exeunt Magazine.
English Touring Theatre's Othello, a co-production with Shakespeare at the Tobacco Factory and Oxford Playhouse, starts with an Islamic wedding. In director
The third finalist in theartsdesk's award in association with The Hospital Club addresses her review to the creators of a Chekhov productionDear RashDash,I know you don't like critics b…
WHITE is a well-crafted and nuanced interrogation of 'the mixed-race experience.'
The post Edinburgh Review: WHITE at Pleasance Courtyard appeared first on Exeunt Magazine.
'Manipulate is not quite the right word...': Hannah Greenstreet is left confused by James Rowland's new show.
The post Edinburgh Review: Revelations at Summerhall appeared first on Exeunt Ma…
A modernist odyssey: Hannah Greenstreet writes on La JohnJoseph's lyrical solo show.
The post Edinburgh Review: A Generous Lover at Summerhall appeared first on Exeunt Magazine.
