“Heart-warming mix of sincerity and self-mockery”: Eleanor Turney reviews Jamie Wood’s show involving a bag load of audience participation.
“Very, very clever”: Eleanor Turney reviews Dead Centre’s picking apart and rebuilding of Chekhov (with added Miley Cyrus).
Eleanor Turney reviews Lost Dog’s show about “a very human God” at Mayfest 2016.
Matthew Austin, co-director of Bristol performance festival Mayfest, is filling the city with work from artists including Bryony Kimmings, Action Hero, Tim Crouch, Selina Thompson and Sh!t Theatre. Here, he talks to Eleanor Turney about the “creative endeavour” of crafting a festival.
“It’s a deeply uncomfortable play to watch, and one that makes us confront, head-on, our own assumptions.”
A lack of subtlety disrupts Mongiwekhaya’s play at the Royal Court.
Blue bloodied bodies pile up in Dan Hutton’s The Spanish Tragedy.
Time becomes something elastic, chewy and distorted in Robert Icke’s extraordinary Uncle Vanya.
Eleanor Turney reviews August Wilson’s “clever and depressingly relevant play”, in which music is simply work.
Eleanor Turney reviews “a simple story of a young, bereaved girl who moves in with her grandmother” that never quite takes flight.
Jakop Ahlbom Company make a show that is ‘fresh, funny and downright astonishing’.
Tom Stoppard’s spy games.
The man who made Glyndebourne.
The actor talks to Eleanor Turney about the riddle of the rehearsal room and working on the National’s new production of As You Like It.
As Manchester Royal Exchange and Bristol Old Vic both stage Arthur Miller’s play, Eleanor Turney asked directors Caroline Steinbeis and Tom Morris: why now?