“Heard melodies are sweet, but those unheard / Are sweeter;” Maddy Costa reviews Anthony Neilson’s latest work at the Royal Court.
Sharing a language of trauma: Maddy Costa reviews Lola Arias’s production with veterans of the Falklands War, as part of LIFT 2016.
it is a cry fully a century long colon a review by Maddy Costa comma at the Barbican stop
When the machines come….Maddy Costa reviews Aurélien Bory’s dance piece at the Norfolk and Norwich Festival 2016.
“It’s shonky, disjointed, random pieces bolted together, rough and ready – but it’s beautiful.” Maddy Costa reviews Vic Llewellyn and Kid Carpet at Mayfest 2016.
Maddy Costa reviews Massive Owl’s journey into the “coming-of-age-story”.
“Derelict exists as an act of faith, in the possibility of theatre, and how it brings people together.” Maddy Costa reviews the pop-up Lancashire arts festival Derelict’s 2016 programme.
Sex in the Seventies: Maddy Costa reviews the Wardrobe Ensemble at Shoreditch Town Hall.
“There is a violence at the heart of this opera,” Maddy Costa reviews The Importance of Being Earnest, directed by Ramin Gray.
“Q1: Solve the following equation…” Maddy Costa tackles the maths behind children’s theatre.
“The fundamental sadness of being alive.” Maddy Costa reviews Duncan Macmillan’s play.
What does another negative review bring to the conversation?
“Ridiculous, cheeky and delightful” – the only three words needed to describe Gary Owen and Tim Crouch’s children’s show.
Maddy Costa responds to Desiree Burch’s performance in a collection of open letters.
“Re:Home shivers with ghosts because one of them didn’t survive.” Maddy Costa reviews Cressida Brown’s revisiting of Home.