“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.
Daniel Perks finds all the fun of the fair – and some poignancy, too – in Visible Theatre’s circus-style look at sex and ageing.
Come Dine With Me, Take II or, What Happened Next: Daniel Parks reviews Greg Wohead and Rachel Mars’ performance at NOW17.
Inspired by Vanessa Macaulay’s performance of How To Come Out Black at NOW festival, Daniel Perks offers some guidelines on how to create a satirical, multimedia performance that proves a point.
An elastic band on the point of snapping: Daniel Perks reviews the premiere of The Removal Men by M.J. Harding and Jay Miller.
Stuck in the past vs. looking to the future: Daniel Perks reviews Bonnie Greer’s update on Chekhov’s The Cherry Orchard.