“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
Drink and dullness: Corrie Tan reviews John Tiffany’s revival of Jim Cartwright’s Road.
An empty philosophical exercise: Corrie Tan isn’t impressed by the “flat, dry” UK premiere of Ferdinand von Schirach’s globe-trotting interactive play.
Corrie Tan finds that “Shepard’s 1985 text still glitters with despair and devastation.”
The yes-no of it: Corrie Tan reviews Nina Raine’s “exquisitely devastating” new play.
The juvenile nature of war: Corrie Tan reviews Yellow Earth Theatre’s production of Tamburlaine.
An amuse bouche of a political documentary: Corrie Tan reviews the National Theatre’s response to Brexit.
A wide-eyed discovery of the world: Corrie Tan reviews Superbolt Theatre’s new play about a group of martians.
We are all aliens: Corrie Tan reviews Tim Foley’s “science fiction on a shoestring” play.
‘Mouse Toilet’, ‘Blood Army’, and ‘Road Queen’: Corrie Tan reviews ImmerCity’s immersive production at the Vaults Festival 2017.
The passing of time: Corrie Tan reviews Richard Dodwell’s PLANES and Sylvia Rimat’s This Moment Now as part of NOW17.
The frog at the bottom of the well: Corrie Tan reviews Howard Barker’s In The Depths of Dead Love.
The stage is also a home: Corrie Tan reviews a blend of theatre and performance poetry telling the stories of immigrants in the U.K.
A core of decay but also a throbbing, excited nucleus: Corrie Tan reviews the premiere of Lucy Kirkwood’s The Children.
“It felt like taking a punch in the gut, then learning how to heal.”: Corrie Tan reviews Belarus Free Theatre’s new work about schizophrenia.