Ain’t no party like a Regency ball: Lilith Wozniak reviews Blood of the Young’s irreverent, karaoke-fueled take on Austen.
Wide-eyed wonder: Lilith Wozniak writes on a nature-inspired gig theatre show.
Undone, unmade: Lilith Wozniak writes on the reversible and irreversible changes of Ontroerend Goed’s palindromic new show.
Why walk when you can flip?: Lilith Wozniak reviews Wise Children’s second production, a nostalgia-soaked adaptation of Enid Blyton’s beloved children’s books.
Are you sitting comfortably?: Lilith Wozniak reviews Vanessa Redgrave’s collection of personal and political histories from the lead-up to the Second World War.
Speaking out: Lilith Wozniak reviews a new play from National Theatre Wales about abortion and the dangers of silence, set between Ireland and Wales.
‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Deep cuts from DJ Anglerfish: Lilith Wozniak on The Wardrobe Ensemble’s latest instalment in their Seekers series for younger years.
The path of most resistance: Lilith Wozniak reviews a multi-stranded project from Headlong, made with four communities from across the UK.
‘The antithesis of magic’: Lilith Wozniak writes on Robin Boon Dale’s performance lecture on the philosophy and physics of juggling.
Gazing into the mirror: Lilith Wozniak takes a trip to Newport to soak in Mike Brookes’ demanding, philosophical piece, the third in his Storm Cycle project for National Theatre Wales.
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.