Casting out on a merciless sea: Maddy Costa reviews My Mother Medea at the Unicorn Theatre.
Room for the imagination (but not the f-word): Maddy Costa reviews a half-term children’s show at the Discover Children’s Story Centre.
“You just do what you can, and don’t be overwhelmed by how enormous the scale of things is” – as right-wing extremism grows and the refugee crisis worsens, Shon Dale-Jones is touring The Duke, a storytelling piece that hinges on a china figurine. Here, Maddy Costa talks to him about fundraising through performance, poverty, and making work with a social purpose.
Cut up: Maddy Costa’s collage review of Chris Brett Bailey’s new show at Ovalhouse.
The carnal heart pulsing within prison-bar ribs: Maddy Costa responds to Rachel Mars’ Our Carnal Hearts.
Best friends, bad friends and record collections: Maddy Costa discusses the DIY spirit of punk and Gregory Moss’s play.
Mid-life crisis: Maddy Costa reviews the RSC’s Doctor Faustus at the Barbican.
“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.