‘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.
Joy and darkness: Lilith Wozniak on the periodically uncomfortable charms of Emma Rice and Joel Horwood’s family show.
Delights at the same time as it challenges: Lilith Wozniak reviews Myrtle Theatre’s follow-up to Up Down Boy.
Banging away: Kneehigh’s latest adaptation is energetic but aimless.
You can feel the bombs rumbling through your shoes: Lilith Wozniak reviews a site-specific immersive show about the siege of Leningrad.