A living funeral: Lauren Mooney on Victoria Melody’s “staggeringly beautiful” show, made in collaboration with her Dad.
Lauren Mooney explores the fraught business of booking a tour, and the glaring power imbalance between venues and freelance artists.
Lovely in the purest sense of the word: Lauren Mooney reviews Zoe Cooper’s fresh and exciting love story.
The horrible world of wellness: Lauren Mooney on Daniella Isaacs’ blistering one woman show about clean living.
Tea House Theatre sparked a Twitter storm after its job listing went viral. Here’s Lauren Mooney on its unpalatable message about undervalued, often female labour in the arts.
As breakneck as the best night out, as wild as you wish you’d been, as tender as a bruise: Lauren Mooney reviews a musical about teenage rebellion.
“Breathes best in its silences”: Lauren Mooney reviews Sean Foley’s production of The Dresser.
Exile in Zone 5: Lauren Mooney reviews Annie Siddons’s show about motherhood and loneliness.
The fragments that make up a woman: Lauren Mooney reviews Bea Roberts’ retelling of Flaubert’s Madame Bovary.
Growing lumps and growing up: Lauren Mooney reviews Luke Norris’ latest at the Fringe.
Human-dolphin communication: Lauren Mooney reviews an ambitious and incisive Fringe show from Breach Theatre.
A “delicately personal ghost story”: Lauren Mooney reviews Jack Britton’s I Used to Hear Footsteps at the Edinburgh Fringe.
Brilliant, energetic, ridiculous fun: Lauren Mooney reviews another Fringe success from Kill The Beast.
Furious and loud and aggressive: Lauren Mooney reviews Rachael Clerke’s “politically vital” show at the Edinburgh Fringe.
“A bunch of lights and hoopla dumped in a graveyard”: Lauren Mooney reviews Circa’s impressive, but ultimately empty, show in Tower Hamlets Cemetery Park.