Flickering flames: Amy Borsuk writes on a production of Shakespeare’s tragedy that makes artful use of candlelight.
Courage Everywhere, the NT’s celebration of 100 years since (partial) womens’ suffrage, begins with a powerful new play from Graeae.
‘a jumble – not necessarily in a constructive, interesting or interrogative way’: Amy Borsuk reviews Jude Christian’s mashup of Shakespearean tragedies
Weighed down by human logistics: this immersive homage to Disney’s Fantasia is good fun, but limited by technology.
Be not afeared: Iris Theatre’s promenade production is fun, if you take the rough with the smooth.
Going for a dip: Sarah Milton’s solo show dives deep into one woman’s relationship with swimming.
Like Fantasia – only better: Amy Borsuk reviews Gyre & Gimble interpretation of Vivaldi using puppetry
Garden party: Paul Miller’s revival of Charlotte Jones 2001 play is a leafy, laughter-filled delight.
Warmth, fun, creativity, glitter: Amy Borsuk reviews Fine and Dandy, and The Cluedo Club Killings, performed by the Arcola Queer Collective
Money or morals: Amy Borsuk reviews Sarah Burgess’s play set in a private equity firm.
“Too long forgotten”: Amy Borsuk reviews the London transfer of Alice Childress’s play.
The pains of growing old: Amy Borsuk reviews Nancy Meckler’s production of King Lear.
Losing faith: Amy Borsuk reviews a production of Othello with religion as its core.
Cosy and humble: Amy Borsuk whets her appetite with Glyn Maxwell’s stage adaptation of Karen Blixen’s 1958 short story, but leaves wanting more.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.