Double faults: Freddie Machin reviews Oli Forsyth’s new play, which investigates the breakdown of a tennis star’s relationship with her parents.
Swatting up: Freddie Machin writes on Exchange Theatre’s bilingual production of Jean Paul Sartre’s take on the Oresteia.
‘A play in which nothing happens, once’: Freddie Machin reviews Theater Artemis’ absurdist show for young people.
Hilarious, and electric: Freddie Machin writes on Scottee’s celebration of fat bodies.
‘an unrehearsed drag race explodes like a glitter bomb inside Shakespeare’s wooden O’: Freddie Machin on Andrew Logan’s radical drag pageant
Pleasure seekers: Freddie Machin writes on a warm, welcoming, and thoroughly enjoyable night of Blackpool burlesque.
All aboard the Hades Express: Freddie Machin reviews an immersive dining experience promising to take you to hell and back.
Wine, dine, smash the gender binary: Freddie Machin on Shotgun Carousel’s Bacchic dinner-theatre experience.
Gravity and Other Myths’ new physical theatre piece Backbone showcases the beauty of working together.
The elephant in the room: Freddie Machin reviews Nick Mohammed’s alter ego Mr Swallow, back with an old-school magic show.
An all-American, alpha, macho moron: Natalie Palamides’ character Nate lets her explore consent through clowning.
Resuscitating drama: Garry Starr’s show is a hilarious attempt to rattle through the whole of theatre in an hour.
Freddie Machin reviews a narrative of grief by Finnish playwright Kaisa Lundan.
The child prodigy: Freddie Machin reviews Circa’s show for kids about Mozart.
Eurovision: Freddie Machin reviews Big in Belgium’s musical trip across Europe post-Brexit vote.