Rosemary Waugh reviews Tim Cowbury’s performance in the form of an awkward convo in Summerhall courtyard.
Power crazy: Rosemary Waugh writes on how Korean company Cho-in theatre turn Macbeth into a fierce metaphor for ambition.
A white cube: Rosemary Waugh writes on a visual art-inspired performance by choreographer Yen-Cheng Liu.
An imbalance of power: Rosemary Waugh writes on Victor Fung’s dance duet, and its shifting political context.
Weather patterns: Rosemary Waugh writes on James Macdonald’s production of Tennessee Williams’ ‘messy, weird’ play.
Charisma and careerdom: Rosemary Waugh writes on Noel Coward’s slightly creaky comedy, starring Andrew Scott.
Writer Sarah Kosar and director Sara Joyce talk about narratives of victimhood, female agency, and their new show Armadillo.
“One happy, happy community”: Rosemary Waugh writes on the stiflling smalltown mundanities of Thornton Wilder’s play.
“There’s a definite gloss to this staging” – Rosemary Waugh writes on Marianne Elliott and Miranda Cromwell’s West End-ready take on Arthur Miller’s story.
Clod Ensemble’s visually striking, monochrome dance piece “captures the claustrophobic oddness of a house party”.
‘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.