Both old-fashioned and futuristic: Lilith Wozniak writes on an atmospheric staging of Samuel Butler’s 19th century science fiction novel.
A company with really exciting ideas: Wilderbeast’s debut show is a mix of classy and clunky.
Heartbeats or voice recordings: Lilith Wozniak reviews Bristol’s Shakespeare at the Tobacco Factory at their new home in Bath.
RENAISSANCE! PLAYSUITS! Lilith Wozniak reviews a musical, double trouble performance by She Goat.
‘It’s the kind of weird theatre show that I want to bring all of my non-theatre friends to see’: Lilith Wozniak reviews Richard Allen’s show as part of Mayfest 2018.
‘Push and pull and stumble; pain and discomfort’: Lilith Wozniak reviews a show by Osaka-based collective Contact Gonzo at Bristol’s Mayfest.
Awe-inspiring noise: Lilith Wozniak reviews a four and a half hour triple bill of spoken word and intense sounds from Chris Brett Bailey.
Timelessness: Lilith Wozniak reviews a new production of Arthur Miller’s classic play
Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes.
Fierce, real, awkward and fake: Lilith Wozniak reviews dance artist James Morgan’s show about myth, monsters and queer identity
Send in the clowns: Rory Mullarkey’s new Chekhov translation is staged in a thoroughly playful production.
Washed away: Wassail Theatre Company’s devised response to the 2013/14 floods plays with space and audience interaction.
Simple8’s adaptation of Forster’s novel is a formulaic take on an intriguing text.
A wild goose chase: Travelling Light’s adaptation is a joyous, inventive blend of storytelling and song.
Take That: Kid Carpet’s Christmas show takes place in a giant ornament nicked from Gary Barlow.