‘The kind of beauty that leaves you feeling a little hopeless’: Rosemary Waugh reviews Rebecca Frecknall’s production of Three Sisters.
Top Queers: Tom Stuart’s play joyfully brings together queer figures from across history, in a narrative sparked by Marlowe’s Edward II.
“There’s a pervasive stench of exhaustion running though everything” – Rosemary Waugh writes on Simon Stone’s Medea, and why it spoke to her in a way that his Yerma didn’t.
Rosemary Waugh interviews the young company behind a hit fringe show exploring trauma, clothes, and healing.
Ned Bennett’s subtle and physical production brings out ‘the sticky straw and steaming shit side of horses’, as represented in Peter Shaffer’s play, writes Rosemary Waugh.
Radio dramas and foley secrets: Rosemary Waugh writes on an ingenious staging of two vintage Pinters.
‘Meticulous in depicting the reality of being a body dependent on another body to care for it’: Rosemary Waugh writes on Martyna Majok’s ‘painstakingly realistic’ play.
‘Beautifully considered visual language’: Rosemary Waugh writes on Anna Jordan’s new play, which follows three soldiers returning from different wars.
Malaprop Theatre’s approach mixes big ideas with bags of quirky warmth. They talk politics, Irish theatre, and collaborative working ahead of their stint at Vault.
“Cook, stirring, until the misery has melted”: Rosemary Waugh’s review of the ROH’s opera takes the form of a very festive recipe.
‘Fifty shades of beige’: Rosemary Waugh reviews The Meyerhold Theatre Centre’s adaptation of Ivan Vyrypaev’s play about a couple arguing themselves round in circles
Intrepid panto correspondent and newbie Londoner Rosemary Waugh reviews the bright lights of Jude Christian and Cariad Lloyd’s pantomime
Rosemary Waugh chats to Jess Latowicki, one half of Made in China, about how their new show Super Duper Close Up draws inspiration from anxiety, feminism – and skincare.
I won’t spoil the ending: Rosemary Waugh reviews Chris Goode’s post-apocalyptic story of a girl and her cat.
The lights are up: Rosemary Waugh reviews Robert Icke’s illuminating reimagining of Ibsen’s play.