“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.
‘While four older women sip from their mugs in a sun-bathed garden, premonitions of catastrophe lurk behind their innocuous chit-chat.’
Catherine Love watches a show providing “a disturbing and intense window on the twenty-first century man.”
A life on pause.
Filling the gaps.
Children of tragedy.