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.
Hailey Bachrach reviews Kit Finnie’s solo show that promises ‘a feminist ghost story’.
Hailey Bachrach reviews a musical version of ‘the perennially adapted tale of a dude who had one job’.
‘Padded and glittering’: Hailey Bachrach reviews the musical take on Marvel.
Hailey Bachrach reviews ‘a sweet and delicate show about a boy and a girl in the English countryside’, a new play using folk music by TRILLS.
What does it mean to reclaim Shakespeare? Hailey Bachrach reviews Mulberry Theatre Company’s revision of Henry V.
Hope, comedy, violence and suffering: Rotimi Babatunde’s stage adaptation of Lola Shoneyin’s novel is a sweet show that leaves a sour taste.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.
Playing for England: Sabrina Mahfouz and Hollie McNish’s story of women and the beautiful game is touring football clubs and theatres nationwide.
It’s not rape if… Hailey Bachrach writes on Nina Raine’s clever, troubling exploration of assault and the justice system.
‘The tried-and-true dynamic of steely mother and slightly hapless son’: Hailey Bachrach reviews a revival of D H Lawrence’s play set during the 1912 miners strike.