Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Polluted truths: Emily Holyoake writes on post-truth politics and cross-gender casting in Rebecca Lenkiewicz’s Ibsen update.
‘Different kinds of storytelling’: Emily Holyoake reviews Yellow Earth and Extant’s collaborative circus-theatre piece made with blind actors.
Young adult: Emily Holyoake on Pilot Theatre’s new staging of Malorie Blackman’s novel and theatre for teenage audiences.
Uncomfortably familiar: Emily Holyoake writes on a revival of Mike Leigh’s play, alongside Safiyya Ingar’s one-woman response.
A collective of 12 women are challenging Nottingham’s art scene to change, with a brand new festival of female-led work.
Google it: Tangle Theatre’s three-man Marlowe gives Emily Holyoake a Faustian experience, she thinks.
That live experience heartache: Emily Holyoake reviews Documental Theatre’s radio play about a couple in crisis.
Freezing Ebeneezer: Wandering Tiger’s promenade Dickens adaptation is fun but frigid.
“An uncynical fever dream of childhood nostalgia”: Little Soldier’s festive show is full of throwback fun.
Dicking about: Exeter Northcott’s panto is a triumphant traditional treat.
Monkeying around: Gyre and Gimble’s latest puppetry-infused show is a total joy.
“The audience is both invited in and held at arm’s length”: Emily Holyoake reviews O&O’s devised piece about coping with looking different.
A small-scale, contemporary rags-to-riches story: Emily Holyoake reviews Tom Nicholas’s new play based around video games and depression.
A bold, bright, and boisterous show: Emily Holyoake reviews a circus-themed version of Shakespeare’s comedy.