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.
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.