Requardt and Rosenberg’s Deadclub “clashes a children’s party with the ticking timebomb of our own inevitable demise”.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.
Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.
Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.
Playwright and director Titas Halder has quickly made a name for himself for his dark, muddy theatrical worlds. Amelia Forsbrook interviews him about music, foxes, and his new play ‘Escape the Scaffold’
Hits the contemporary spot: Amelia Forsbrook reviews Sean Foley and Phil Porter’s adaptation of Molière.
Reads like a revisitation of the Choose Life monologue: Amelia Forsbrook reviews Brad Birch and Kenneth Emson’s “cracking collaborative mastery”.
A spirit and optimism that goes against its drab, desperate, wipe-clean-vinyl-coated setting: Amelia Forsbrook reviews Interval Production’s show about two friends in a women’s hostel.
One performer, one light, no narrative, no text, no set: Amelia Forsbrook sees if Thomas Monckton passes his own test.
An elegant riot against control: Amelia Forsbrook reviews Boy Blue Entertainment at the Barbican.
“It may just be coincidence…” Amelia Forsbrook reviews Matthew Sprangler’s adaptation of Khaled Hosseini’s best-selling novel.
The absence of Nanny State: Amelia Forsbrook reviews Alexander Zeldin’s new work at the National Theatre.
It was all just a dream (of eroticised feet): Amelia Forsbrook reviews the National Ballet of China at Sadler’s Wells.
Artistry breeds immortality: Amelia Forsbrook reviews Amadeus’s triumphant return to the National Theatre.
UniLad meets CBeebies: Amelia Forsbrook reviews a “flaccid and synthetically-aged operetta”.