Diamonds in a rhinestone world: Francesca Peschier writes on Dolly Parton’s musical theatre extravaganza.
As Marie Kondo fever sets in, Paula Varjack explains how her new show The Cult of K*nzo explores the performativeness of shopping.
Graft, grit and glitter: Francesca Peschier writes on the shifting layers of Emma Rice’s retelling of Angela Carter’s story.
Middle class problems: Francesca Peschier writes on Alexis Zegerman’s exploration of rules, religion, and cultural legacy.
A group of mates getting together to frolic in the manner of some seriously gymnastic puppies: Francesca Peschier reviews French-Canadian circus group Flip Fabrique.
The Artist doesn’t quite meet Francesca Peschier’s very high expectations for ‘one of the very, very best’ clowns.
There is a serious gap in the magic circle regarding Slytherin representation: Francesca Peschier reviews a show by the Sherlock Holmes of magicians.
Francesca Peschier writes on the swooshing skirts and sumptuous spectacle of this “commendably self-aware” revival of the Rodgers and Hammerstein classic.
Francesca Peschier interviews the duo behind Bechdel Theatre about industry inequality, representation, and sexy, sexy data.
‘Margot didn’t lend Elle her lucky scrunchie to be almost entirely written out of the narrative’: Francesca Peschier reviews the stage version of the classic (CLASSIC) film.
One very dangerous man: Catrina McHugh’s two-hander explores the issues of coercive control within relationships.
Tongued into submission: Francesca Peschier tries to put the joy of Chris Brett Bailey’s solo set into words.
Checkmate: Benny and Bjorn’s classic eighties musical is completely ridiculous
Francesca Peschier reviews Hideki Noda’s “utterly bizarre gender-bending kaleidoscopic piece of work”.
A Will Young concert with a bit of story: the musical adaptation of Baz Luhrmann’s 1992 doesn’t sparkle as bright as its sequins.