The unsettling feeling of studying the alchemy of love: Gillian Greer reviews debbie tucker green’s new play at the Royal Court.
The magic in myth-making: Gillian Greer reviews a new play about growing old together.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
Through the veins of a broken old house in Brighton: Gillian Greer reviews Jolie Booth’s new show at the Vault Festival 2017.
Takes on an honesty all of its own: Gillian Greer reviews James Rowland’s “twinkle-eyed telling of an untrue love story”.
What Nigel Farage would probably call ‘rampant socialism’: Gillian Greer reviews Arthur Darvill and Sam Holcroft’s adaptation of Roald Dahl.
An explosive, joyous celebration of remembering: Gillian Greer reviews Theatre Re as part of the London International Mime Festival 2017.
Jazz hands and bananas: Gillian Greer reviews the play based on Joseph Moncure March’s poem.
Gillian Greer interviews the Bruntwood Prize-winning playwright Katherine Soper about the difficulties of surviving as a young writer, zero hours contracts, and the media response that characterised her as a ‘perfume seller’.
“If we had seats, we would be on the edges of them.” Gillian Greer reviews the NoFit State Circus’s promenade show.
‘Lovely’ doesn’t cover it: Gillian Greer reviews Rani Moorthy’s one-woman show exploring the significance of the sari.
A love letter to empathy: Gillian Greer reviews the London premiere of Tonight with Donny Stixx.
Soaked in myth, ritual and salt water: Gillian Greer reviews the debut of Matt Grinter’s Papatango prize-winning play.
Disney princesses and the descent into the Underworld: Gillian Greer reviews Maud Dromgoole’s modern take on Euridyce and Persephone.
“Finds great insight in the mundane practicalities of suffering and tragedy”: Gillian Greer reviews Ella Carmen Greenville’s Plastic Figurines.