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.
‘Deeply, profoundly ridiculous, but an enjoyable night at the theatre all the same’: Crystal Bennes reviews an attempted update of John Gay’s ballad opera.
Destroyed lives: Crystal Bennes writes on a powerful exploration of racially-motivated miscarriages of justice.
Everything is not going to plan: Crystal Bennes reviews a piece of visual theatre about disrupting routines.
Unmoored: Crystal Bennes reviews a play loosely based on Hopscotch by Julio Cortázar.
Sleeping is a kind of time travel… Crystal Bennes reviews a spoken word performance by Rosy Carrick.
A sacred leaf: Colombian artist Miguel Hernando Torres Umba performs this exploration of the narcotrafficking industry.
Behind our Skin reveals ‘the power of simply telling stories.’