“It’s a show you can’t take notes about, don’t really want to be a critic about, don’t really want to be an adult about.”
Unexpectedly dark and messy: Hailey Bachrach reviews Sam Potter’s new play about motherhood.
What should one expect of a play subtitled ‘a queer epic’? Hailey Bachrach reviews Hal Coase’s interweaving of four historical love stories.
That damned love triangle: Hailey Bachrach reviews the premiere of a revised version of Andrew Lloyd Webber’s The Woman in White.
Slyly lefty and warmly inclusive: Exeunt’s American writer Hailey Bachrach gets to grips with her first pantomime.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.
The miracle of unburdening yourself: Hailey Bachrach reviews Angela Clerkin’s “gothic fairytale”.
“Nailed it”: Hayley Bachrach overcomes her fear of the form at Pop-Up Opera’s accessible production of Englebert Humperdinck’s Hansel and Gretel.
Hailey Bachrach discovers a corner of forgotten Indian history in The Queen.
The Mobile Unit of NYC upholds the belief that Shakespeare belongs to everyone.