Building community: Catherine Love writes on a quietly radical performance, part of a series of public interventions by Common Wealth.
Rituals of remembrance: Argentinian artist Lola Arias’ exploration of the Falklands War comes to York.
No future: Catherine Love reviews Chris Goode’s furiously intelligent take on the punk movie classic.
Thatcher’s children: Catherine Love reviews a stage adaptation of Bernard Hare’s Urban Grimshaw and the Shed Crew.
‘We have to stumble along the way and admit to our mistakes’: Catherine Love reviews Testament’s show about feminism and becoming a father.
Thornton Wilder’s 1938 play is a “giddily expansive” exploration of community and the passing of time.
Catherine Love reviews Daniel Bye’s new show about the “complex mix of complicity, complacency, fear and the desire to do something.”
Catherine Love on a flimsy gig-theatre exploration of the Lancashire Cotton Famine.
A very British dissection of American popular culture: Catherine Love reviews a double bill of works at Flare Festival 2017.
A pairing of the whimsical and the sinister: Catherine Love reviews an eclectic double-bill at Manchester’s Flare Festival.
Not with a bang but with a party popper: Catherine Love reviews the world premiere of Nigel Barrett and Louise Mari’s immersive apocalypse show.
Shifting the conversation from the mind to the gut: Catherine Love reviews Powder Keg’s new show about climate change.
Magical-realism by way of light yet damning political critique: Catherine Love reviews Alan Harris’ “strange, delicate” 2015 Bruntwood Prize-winner.
In her Grief Series, Ellie Harrison explores mourning in a seven-part cycle of artworks. Here, she talks reinventing rituals, and how art can be therapeutic without being therapy.
A low drone of anxiety: Catherine Love reviews El Conde de Torrefiel’s show as part of Transform 17.