Flawed heroics: Crystal Bennes writes on a conventional staging of Tchaikovsky’s Pushkin-inspired opera.
A muddled myth: Crystal Bennes writes on Sheila Atim’s Cleopatra-inspired debut play.
Henry Naylor’s play is a flawed look at the media outrage surrounding ‘Jihadi bride’ Shemima Begum.
National heroes: Crystal Bennes writes on Scottish nationalism in her review of Wonder Fools’ play about four Scottish miners who volunteered to fight in the Spanish Civil War.
Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
Raining on the parade: the magic of David Greig and Mark Knopfler’s musical adaptation of the much-loved 1983 film Local Hero is lost on Crystal Bennes.
Missed the boat: Crystal Bennes reviews Scottish Opera’s new commission about scientists on a research expedition to Greenland.
Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.
Horsing around: Crystal Bennes and Tom Jeffreys write a rhyming review of Red Bridge’s production of Black Beauty.
‘Anxious behaviour’: Crystal Bennes reviews a solo show based on the migratory instincts of the marsh warbler.
Crystal Bennes writes on a bilingual play that explores ideas of independence, identity and duality in Québec.
A frenzied, facetious production: Crystal Bennes reviews Opéra de Lyon’s performance of Rossini’s Cinderella.
Striking images: Crystal Bennes compares two works by Polish company Teatr Biuro Podrozy.
Crystal Bennes responds to an opinion-splitting Fringe First winner by synthesising professional and public reviews.
Overburdened and oversensationalised: Crystal Bennes is unmoved by a monologue that tries to do too much.