Brutalist brilliance: Francesca Peschier reviews Chris Bush and Richard Hawley’s sweeping musical ode to Sheffield’s Park Hill housing estate.
“So how do we talk about the flying body, this body in space?”: Francesca Peschier interviews two female circus artists about objectification, challenging beauty norms, and soaring through the air.
“Bats! Gay bats! Bats in a freaking tunnel!” – Francesca Peschier heads underground in search of the campest, eeriest, and most shiver-inducing shows at Vault Festival.
‘a beautiful messy dance of instructions, rule breaking and expectations’: Francesca Peschier writes on the stage directions in Outbox theatre’s gloriously queer show, devised from the experiences of its non-binary, trans and queer performers.
Francesca Peschier dives into Vault Festival to find shows that explore girlhood, “like cutting through life with blunted scissors”.
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.