‘Like any fairground ride, Phobiarama is not subtle’: Alice Saville rides Dries Verhoeven’s ghost train at LIFT 2018.
As the theatre calendar goes into overdrive, Alice Saville writes on the time-and-space challenges of trying, and failing, to see everything.
Hall of amusements: set in a decaying seaside resort, this rarely staged Kander and Ebb musical has a warm mother-daughter bond at its heart.
A beautiful game: Improbable’s devised show mixes football and feminism, in a tribute to the power of teamwork.
Clam jam: Izzy Tennyson’s play is a grimy, intriguing look at Dalston’s lesbian party scene.
Alice Saville considers questions of reputation and legacy in an industry that’s in love with its own history.
The inadequacy of language: Alice Saville on Rodney Ackland’s sprawling epic of post-war London nightlife.
He had it coming: Alice Saville’s review of the sexy, slick courtroom story takes the form of a trial transcript.
The billow of smoke: Emma Rice’s reimagining of the classic is gorgeously, but narrowly, romantic.
Ellie Dubois’s shows blur the line between circus and live art. She talks pushing at the limits, gender, and why circus needs more criticism.
A vindication of female oddness: Patsy Ferran stars in Tennessee William’s painful study of anxiety, passion and loneliness.
Giselle LeBleu’s spooky, multilayered storytelling show really is perfect for Mother’s Day.
Some thoughts on work and exploitation, following Mark Shenton’s statement that he’ll no longer go to shows made by unpaid creatives.
“Brexit has sent a subconscious ‘exodus call’.” – European company Little Soldier talk leaving, uncertainty and the impact of the ‘yes’ vote.
The author of ‘Frozen’ and a new adaptation of ‘Brighton Rock’ talks female anger, reimagining romantic fiction, and the banality of murder.