“It feels like an act of self-harm”: Kate Wyver on Sverre Waage’s three-man show featuring performers sold into the circus as children.
Grief, robbery and Christmas pudding: Kate Wyver reviews James Rowland’s show on tour in Bristol.
“It didn’t really need to be a play”, and other thoughts: Kate Wyver’s list review of fanSHEN’s performance.
Between irony and evil: Javaad Alipoor’s performance delves into the many-tentacled world of online communities.
A ghost story: Kate Wyver reviews Barrel Organ’s new show about emotional and financial debt.
At a festival that can feel like a celebration of youth, three shows are exploring old age. Kate Wyver talks to their creators about loneliness, dementia, and unexpected laughter.
The gentle tracing of our pens on paper: Kate Wyver draws Hannah Sullivan in her “infinitely delicate” one-on-one participatory show in Bristol.
Red shoes and red chairs: Kate Wyver responds to Matthew Bourne’s obsessive and passionate ballet.
A rallying cry for the celebration of imagination: Kate Wyver reviews Jack Thorne’s new musical at the Bristol Old Vic.
An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.
An enormously heartbreaking experience: Kate Wyver reviews Rosana Cade’s new work at IBT17.
“Are you meditating?” Kate Wyver takes part in French and Mottershead’s site-specific show about the body after death.
Kate Wyver interviews Rani Moorthy, founder of Rasa Theatre, about her play Whose Sari Now?, a look at the stories of five South asian women, and on how she’s fighting for her culture to be heard on stage.
Love, loss and unlikely friendship: Kate Wyver reviews Kneehigh’s adaptation of Michael Morpurgo’s story.
Telling ghost stories: Kate Wyver reviews a new production of The Weir directed by Rachel O’Riordan.