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.
The games people play: Freddie Machin on a show about the rhythms and patterns of relationships.
‘An indictment of all of us’: Freddie Machin reviews Mark Thomas’ illusion-shattering take on the state of the NHS.
No names, no regrets, and no refunds: Freddie Machin reviews Reuben Kaye and The Swizzle Boys.
“Swanky senior citizens, elegant elders & glamorous golden girls” are all invited to daytime cabaret The Posh Club. Here’s Freddie Machin on why it’s so vital.
‘Blunt, sparse, and deeply seductive’: Freddie Machin reviews an evening of the music suppressed by the Nazis.