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.
A very familiar spacewalk: Amy Borsuk starts off our Vault Festival 2017 coverage with a review of Brave Badger’s intergalactic play.
Taking flying lessons: Amy Borsuk revisits a favourite childhood friend at the Southwark Playhouse.
A beautifully complex work of art: Amy Borsuk reviews the now-complete Shakespeare Trilogy.
The act of grief and coping: Amy Borsuk reviews Neil McPherson’s play about a young poet killed in World War I.
“Thou canst not touch the freedom of my mind.” Amy Borsuk reviews Lucy Bailey’s staging of John Milton’s Comus.
On a dull, dark and soundless day, Amy Borsuk finds herself in view of the melancholy House of Usher.
Pay as you go: Amy Borsuk reviews Shôn Dale-Jones’ performance of The Duke.
Sing-a-long Shakespeare: Amy Borsuk reviews the 60s sound of the Sam Wanamaker.
Letting the daughter do the talking: Amy Borsuk reviews Matthew Dunster’s reworking of Cymbeline.
Amy Borsuk provides an American perspective on Suzan-Lori Parks’s trilogy.
Breakfast and malignment: Amy Borsuk reviews Howard Colyer’s adaptation of Franz Kafka’s The Trial.
As Jon Brittain’s Rotterdam transfers to the West End, Amy Borsuk explores the pain at the heart of this transgender story.
“Both a threat and a sympathetic expression of despair”: Amy Borsuk reviews Blitz Theatre Group’s performance as part of LIFT 2016.