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.
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.