Louise Jones answers the call of ZU-UK’s phonebox-based performance in her first piece as embedded critic at Compass, the Leeds-based festival of live art
‘Homecoming’: Louise Jones reviews a warming, nostalgia-laden gig theatre tribute to the city of Sheffield.
Growing pains: Louise Jones reviews Northern Rascal’s outdoor dance piece made with a group of twenty 16-25 year olds from Calderdale.
Grief encounter: Louise Jones reviews Headlong’s ghost story, reimagined as a performance via telephone.
Unreliable connection: Louise Jones reviews a series of short performances exploring isolation and togetherness, co-presented with Opera North.
Louise Jones reviews an outdoor monologue with a soundtrack that chimes with its themes of grief and spirituality.
Social media stormclouds: Louise Jones writes on the Facebook livestream of Kieran Hurley’s student activism drama.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
‘An America that tears itself apart from the inside’: Louise Jones reviews imitating the dog’s shot-for-shot live remix of George Romero’s horror movie.
Glitz and glamour: Louise Jones reviews Le Gateau Chocolat and Jonny Woo’s loving lampooning of all things musical theatre.
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.