Personal and political: Lilith Wozniak reviews Chinonyerem Odimba’s play for Eclipse Theatre, set during the Bristol Bus Boycott.
A rich tapestry: Lilith Wozniak reviews Nick Makoha’s autobiographical play about stories of exile and displacement.
Someone else’s shoes: Lilith Wozniak writes on the mechanics of empathy in an immersive audio experience in Bristol shopping quarter.
The little things: Lilith Wozniak writes on the detail and scale of The Borrowers.
Gift shop Frida Kahlo: Lilith Wozniak writes on Deborah Antoinette and China Blue Fish’s sketch show, and asks what we want from feminist theatre.
‘Shrödinger’s gender’: Lilith Wozniak on Wils Wilson’s lucid, playful production of Twelfth Night.
Death and birth: Lilith Wozniak reviews a double bill of new work developed through Bristol Old Vic’s Ferment programme.
Magic realism: Lilith Wozniak reviews Wassail Theatre’s pub quiz-set tale of rural life.
The foibles of the ruling classes: Lilith Wozniak reviews a satire based on Queen Victoria and Prince Albert.
Ingenious design: Lilith Wozniak reviews the stage adaptation of Joe Simpson’s memoir.
Messages from the other side: Tom Marshman’s solo show summons the spirits of men persecuted for being gay in 1950s Britain.
Lilith Wozniak reviews a new show about raising children, Russian folklore and how the theatre industry supports mothers.
Emotional disconnection: Lilith Wozniak writes on Katie Mitchell and Alice Birch’s unsettling retelling of a story of a sexual fantasy.
Your number’s up: take a spin on Ben Kulvichit and Lilith Wozniak’s game-form write-up of the live art festival of chance.
‘Absolutely pitch perfect writing’ – Lilith Wozniak on Malaprop Theatre’s compelling take on the modern world.