‘A carrot of prosperity’: James Varney writes on property, production and paternalism in Tanika Gupta’s reinterpretation of Harold Brighouse’s play.
Power play: James Varney writes on the dangerous games of Bert Lesca and Nasi Voutsas’ trilogy-ending follow-up to Eurohouse and Palmyra.
James Varney writes on live art festival Transform, and explores how its line-up intertwines with the Leeds streets that surround it.
Ambiguous advertising: James Varney asks what Señor Serrano’s banana-filled multimedia production is selling, and paying for.
Bad parenting: James Varney writes on the ambiguous critical outlook of David Judge’s autobiographical monologue on race and fatherhood.
‘Queer politic as positive philosophy’: James Varney on how Gareth Cutter’s solo show fits in a wider culture of Queerness and performance.
The woods for the trees: James Varney writes on scale and perspective in James Monaghan’s solo piece, from his viewpoint as an embedded critic.
‘Its polemic is potent’: James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
“I hope it’s stupid”: James Varney on the skill of being an idiot in a Dutch company’s tribute to the great entertainers.
James Varney interviews performance-maker Jackie Hagan about access and telling the stories of “real people who are having a hard time”
Skirting around sharp edges: James Varney reviews an all-male production of Jean Genet’s The Maids which doesn’t quite deliver on its promises.
‘A myth sceptical of myths’: James Varney writes on place and ownership in Chris Thorpe’s cycle of contemporary Mystery plays.
Josh Coates and Emma Geraghty of Powder Keg talk to James Varney about Morale is High (Since We Gave Up Hope) and making theatre at a time of political uncertainty.
The oldest hath borne most: James Varney reviews Michael Buffong’s production of Shakespeare.
“Monopolising on misery… without any commentary or attempt at solution or alternative.” James Varney reviews Breach’s The Beanfield.