‘They capture a moment and keep it hanging there, letting you bask in it all’: Kate Wyver writes on Dylan Coburn Gray’s swirling reflection of Dublin.
Kate Wyver writes on Bella Heesom’s (pubic) hair-raisingly literal exploration of all things vulval.
Kate Wyver and her grandmother interview the experimental theatre duo Ridiculusmus, as they rehearse a new show about getting older and slowing down.
Night terrors: Kate Wyver writes on the sharp but fleeting chills of Dyson and Nyman’s returning horror anthology.
‘demonstrating how hard true understanding – of both oneself and of another – is to achieve’: Kate Wyver writes on the NOW Festival Week 3 double bill.
“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.