Catherine Love discusses RashDash’s Two Man Show and what it says about masculinities, uncertainty and the patriarchy.
Catherine Love encounters a “a Choose Your Own Adventure storybook of performance” at Emergency Festival in Manchester.
Catherine Love reviews Maxine Peake’s “compelling and impressively fresh” performance as Blanche DuBois.
Anthony Neilson’s new play, ‘Unreachable’, opens at the Royal Court this week. Catherine Love sits in on the rehearsals, and explores mainstream theatre’s reluctance to stage devised work.
Translating Theatre is a research and practice-based project that aims to spark intercultural dialogue. As part of a series of essays from the project, Catherine Love steps into the rehearsal room to explore the elusive rules of humour and ‘foreignisation’.
“A TARDIS-full of visual sci-fi references”: Catherine Love reviews Philip Ridley’s new work performed by PIGDOG.
“Murky moral zones”: Catherine Love reviews Inne Goris’s adaptation of Alessandro Baricco’s novella, as part of LIFT 2016.
Catherine Love explores the principles of ensemble theatre making, by observing the Birmingham Rep’s Foundry company at work. From Stanislavsky to Secret Theatre, she looks at how actor-focused ensemble work helps create theatre that’s built from communities.
Concerned with the detritus of living: Catherine Love reviews Dante or Die’s performance in Poole.
“Not enough science for it to be science-driven and not enough character for it to be character-driven.” Catherine Love reviews Idle Motion’s tale of space travel.
A beautiful evening? Catherine Love discusses Northern Ballet’s performance at Transform ’16.
“Who the fuck is Thomas Aikenhead?” Catherine Love reviews Told by an Idiot’s latest production.
“Sort of exquisite in its own tender, unassuming way.” Catherine Love reviews Tom Wells’ Folk.
Catherine Love on the “chilling normality” of the deep space horrors that fill Alistair McDowall’s new play.
“It’s been a long time, baby.” Catherine Love reviews Greg Wohead’s new show.