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.
There’s no use crying: Kate Wyver reviews Ross Dunsmore’s debut play about love and food.
The concept of trust: Kate Wyver reviews Rob Drummond’s part-theatre part-gameshow attempt at finding love.
“A slightly dull lecture”: Kate Wyver reviews the Sue MacLaine Company’s show at Mayfest 2016.
Kate Wyver reviews the WNO’s staging of David Jones’s epic poem, but finds it lacks the required weight.
Kate Wyver chats to Molly Freeman, co-artistic director of puppetry company Smoking Apples, about how their new performance will bring the complex world of deep sea trawlers to the stage.
“Overly ambitious”: Kate Wyver reviews Peepolykus’s adaptation of Flaubert.