In this interview with Ben Kulvichit, the writer-director duo discuss their show Wild Swimming, symbiosis, and why emerging artists need to make mistakes.
Woozy half-consciousness: Ben Kulvichit writes on Darkfield’s latest shipping container show.
A day in the life: Ben Kulvichit writes on Antler’s fusion of theatrical naturalism and contemporary dance.
Glitching GIFs: Ben Kulvichit writes on Ultimate Dancer’s dazzling multimedia dance performance.
Am I overthinking this? Ben Kulvichit writes a footnoted response to Lewys Holt’s duo of performances.
Scalpel-like precision: Ben Kulvichit writes on Demi Nandhra’s solo exploration of depression.
A theatrical thought experiment: Ben Kulvichit writes on Milo Rau’s discomfiting meditation on a murder.
Say cheese: Ben Kulvichit reviews Tuyen Do’s finely wrought domestic drama, the first Vietnamese-British play to be seen on a UK stage.
‘I’m beautiful and I’m here’: Ben Kulvichit reviews Tinuke Craig’s soulful, stirring production of the musical adaptation of Alice Walker’s famous epistolary novel.
You and I, here and there: Ben Kulvichit responds to Jo Fong and Sonia Hughes’ participatory piece by setting a timer for six minutes.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.
Improbable feats: Ben Kulvichit writes on heroes and villains in Inua Ellams’ new play, which fuses Greek and Yoruba mythology.
The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.
A familiar family: Ben Kulvichit writes on Chippy Lane Production’s new play and its echoes of 20th Century American playwrights
‘A sharp, metallic taste you’re not expecting’: Ben Kulvichit writes on strangeness and power in the Yard’s double-bill of live art by Tim Spooner & Tom Richards and Ira Brand.