The rest is silence: Rosemary Waugh reviews Robert Icke’s production of Hamlet, starring Andrew Scott.
From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre’s revival of Clare McIntyre’s Low Level Panic.
Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
Loud, modern, sweary and stark: Rosemary Waugh reviews Shakespeare At The Tobacco Factory’s new production of Othello.
As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
24-fingered 24-hour care: Rosemary Waugh reviews Pipeline Theatre’s show about robot carers.
State of the nation theatre (with a side of chips): Rosemary Waugh reviews Katy Baird’s performance of Workshy as part of IBT17.
The truly transformative nature of Graeae’s approach can’t be underestimated: Joe Turnbull from Disability Arts Online reviews a new production of Lorca’s play using an all-female, D/deaf and disabled cast.
Your body is yours, take it: Rosemary Waugh reviews Vivian Chinasa Ezugha’s performance at IBT17.
Hearts and minds: Rosemary Waugh reviews a new children’s show about depression.
Carpe Dieming: Rosemary Waugh reviews Stacy Makishi’s life-affirming show at In Between Time 2017.
As US/Them opens at the National Theatre, writer and director Carly Wijs talks to Rosemary Waugh about sex, censorship and making theatre for children.
Behind the scenes: Rosemary Waugh reviews Familie Flöz at the Peacock Theatre as part of the London International Mime Festival.
The National Gallery, and other ways to kill time before going to the theatre: Rosemary Waugh reviews Mary Skeaping’s Giselle.