Polar opposites: Hailey Bachrach writes on Tatty Hennessy’s narrative of arctic exploration, and the weight of female role models.
Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
‘Believing deep down that things are, should be, can be fair’: Hailey Bachrach reviews Cressida Brown’s production of a new take on the high-flying myth.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.
Hailey Bachrach writes on the Menier’s wintry new staging of a musical that’s “by and for the kinds of Jews who want something to celebrate at Christmastime”.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”
‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.
The living dead: Hailey Bachrach writes on Rafaella Marcus’ new production of Irwin Shaw’s ‘strange, spiky’ WW1 play.
More than teenage drama: Hailey Bachrach writes on Sarah DeLappe’s hyper-naturalistic story of a teenage girls’ soccer team.
WARNING: Hailey Bachrach writes on an unpredictable look at amnesia by young international collective JAMS.
Hailey Bachrach reviews a flapper-era adaptation of Shakespeare’s comedy.
‘We can only bear witness’: Hailey Bachrach on an emotive journey through the history of Black women in the Americas.
Guilt and Complicity: Hailey Bachrach on how a play about American slavery translates for an Edinburgh audience.
After a captivating start, Hailey Bachrach is left cold by this story about neighbours and homecomings.
A slightly jumbled jumbo: Hailey Bachrach is unconvinced by a one woman adaptation of Michael Morpurgo’s elephant tale.