Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.
Spinning yarns: Lilith Wozniak writes on a carnival-inspired tale of a swindler out to win a cash prize, drawing from Afro-Caribbean folklore.
Bloody festive: Lilith Wozniak reviews a pop-culture mash-up Christmas show with flying vampires, strap-ons and Bon Jovi sing-a-longs.
A faltering take-off: Lilith Wozniak reviews a haltingly staged sci-fi promenade show from National Theatre of Wales and Hijinx Theatre.
Cartoon magic: Lilith Wozniak reviews Protein Dance’s ‘playful and joyous’ adaptation of the much-loved book.
Resistance and solidarity: Lilith Wonziak reviews Theatre Ad Infinitum’s latest show exploring the challenges and prejudice faced by the Deaf community.
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.
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.