Shaft of light: Louise Jones writes on the ‘futile, gripping’ intensity of Athol Fugard’s seldom-produced two-hander.
Unholy matrimony: Louise Jones reviews Gracefool Collective’s unruly deconstruction of wedding traditions.
Heartbeats: Louise Jones writes on an intimate physical theatre dissection of a break up.
Cosmetic expectations: Louise Jones writes on The Hiccup Project’s dance exploration of the pressures on women to be ‘lovely’.
Raw and clandestine: Louise Jones writes on Catherine Hoffmann’s musical about under-discussed gynaecological conditions.
A matter of life and death: Louise Jones writes on the emotional mechanics of Theatre Re’s lyrical piece of physical theatre.
‘Life’s metaphorical bucket’: Louise Jones reviews Holly Gallagher’s solo storytelling show about the three Millennials under stress.
Tensions in the ring: Louise Jones on plot and character in a wrestling ring-set co-production between Red Ladder and The Dukes, Lancaster.
Ringing hollow: Louise Jones writes on the subtleties lost in adaptation in Out of Joint and Royal and Derngate’s co-production of Kazuo Ishiguro’s novel.
Singing her song: Louise Jones reviews Emma Geraghty’s solo show exploring fatness and queerness through music.
Hanging up his wig: Louise Jones writes on the 40th and final panto helmed by legendary York dame Berwick Kaler.
A broad brush: Louise Jones finds this adaptation of Jane Austen’s novel yields uneven results.
‘Joy in solidarity’: Louise Jones writes on Phoenix Dance Theatre’s celebration of the human stories of the Windrush generation.
Louise Jones submits her examination paper for Jonathan Lewis’ play. (And promises she didn’t cheat.)
Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show