“A piece of eloquent controversy”: Daniel Perks analyses the London transfer of What Shadows, Chris Hannan’s kaleidoscopic interrogation of Enoch Powell.
“Poetically conceived and beautifully realised”: Daniel Perks admires the beauty and brevity of Leoš Janáček classic opera in Olivia Fuchs’ staging for Opera Holland Park.
Desperation and fragility: Daniel Perks on a revival of the 1973 play about life on Apartheid-era Robben Island.
This joyful show for Deaf and hearing families is inspired by the story of Moses.
The opening and shutting of doors: Daniel Perks reviews David Henry Hwang’s comedy about Americans doing business in China.
“Home is not where you are born; home is where all your attempts to escape cease.” Daniel Perks reviews Inua Ellam’s spoken word performance.
From oil sponsorship of the arts to ethical pensions: Daniel Perks attends an Energising Culture seminar to learn more about how arts organisations are looking to save the planet.
An honest account of heritage and prejudice: Daniel Perks reviews Joe Sellman-Leava’s one-man show at Vault festival 2017.
Eye opening: Daniel Perks reviews Oli Forsyth’s empathetic look at homelessness at this year’s Vault festival.
A tribute to an unsung hero: Daniel Perks reviews Viki Browne’s work in progress show about her own grandmother.
Feminist porn and a different type of fairy tale: Daniel Perks reviews a work in progress by Naomi Westerman at the Vault festival.
The ugly side of fashion: Daniel Perks reviews Tom Brennan’s look at society’s obsession with reality television.
Daniel Perks reviews Martin Brett’s new work about “the self-proclaimed best travel agent in the business.”
Grandma is the hidden star: Daniel Perks reviews Deborah Pearson’s performance at NOW17.
The familiar and the everyday: Daniel Perks reviews Julie Rose Bower’s performance at NOW17.