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.
Fun, sexy and inventive: Lilith Wozniak reviews Gandini Juggling’s playful tribute to all things pop music.
Both old-fashioned and futuristic: Lilith Wozniak writes on an atmospheric staging of Samuel Butler’s 19th century science fiction novel.
A company with really exciting ideas: Wilderbeast’s debut show is a mix of classy and clunky.
Heartbeats or voice recordings: Lilith Wozniak reviews Bristol’s Shakespeare at the Tobacco Factory at their new home in Bath.
RENAISSANCE! PLAYSUITS! Lilith Wozniak reviews a musical, double trouble performance by She Goat.
‘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