This is unquestionably about identity: Catherine Love reviews Lucy Jane Parkinson in JOAN.
Somewhere across the icy waters: Catherine Love reviews Liz Nunnery’s WWII play with songs.
An uncertain piece of theatre in uncertain times: Catherine Love reviews Powder Keg’s performance as part of PUSH festival 2017.
We don’t just see the ethical conundrums faced by factory owners; we experience them: Catherine Love reviews World Factory.
Taking back control: Catherine Love reviews Two Destination Language’s show about modern masculinity.
“Looking for a face to blame”: Catherine Love reviews a post-apocalyptic drama staged in a derelict building in Bradford.
The loving mixture of homage and piss-take: Catherine Love reviews Kill The Beast at The Lowry.
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.