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.
Different hymn sheets: writer Rajiv Joseph and director Lisa Spirling don’t see eye to eye in this spiralling history of Russia.
The mysteries of love: Hailey Bachrach reviews Matthew Lyons’ puzzling, Shakespeare-inspired verse romance.
In Shakespeare’s birthday week, Hailey Bachrach argues that there’s nothing dull about recent reinventions of his work.
An uneasy mix: Simon Dormandy’s production combines squirmy sexual politics with knockabout comedy.
A poem about a poet: Luke Wright’s second verse play dives into the political turmoil of Thatcher’s Britain.