Murder most foul: Amy Borsuk reviews Creation Theatre’s Zoom production of John Webster’s revenge tragedy, which successfully walks a tightrope between camp and gore.
‘I hope it works’: Amy Borsuk writes on Zoe Seaton’s playful, interactive online production of Macbeth, which combines theatre and horror film aesthetics through impressive special effects.
Set pieces: Amy Borsuk writes on a chess drama which offers a striking but dense perspective on the Cold War.
Not-so-seriously spooky: Amy Borsuk writes on a witty, magic-trick filled take on Oscar Wilde’s ghost story.
“A surface-level solution”:Amy Borsuk finds that a gender-swap doesn’t fix the problems posed by Shakespeare’s play.
“Are we laughing with them? At them? What exactly is so funny?” Amy Borsuk writes on the awkward humour of Selladoor’s revival of Falsettos.
Deciding for yourself: Amy Borsuk writes on Ben Weatherill’s tender, inclusive love story.
‘What kind of nation have we created?’: Amy Borsuk reviews Adjoa Andoh and Lynette Linton’s ‘landmark’ production of Shakespeare’s history play.
Amy Borsuk reviews 1927’s mixed media show, in which ‘playful, exaggerated human acting’ meets ‘the absurdities conjured into life onscreen’.
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.