Penmanship: Rosemary Waugh reviews Stephanie Riding’s work about writing to male prisoners on death row.
Coming down to earth: Rosemary Waugh reviews Steven Cantor’s film about ballet dancer Sergei Polunin.
When Harry met Daniel met Tom: Rosemary Waugh reviews the 50th anniversary production of Tom Stoppard’s riff on Hamlet.
The 1970s in brown and orange: Rosemary Waugh reviews the UK premiere of Marielle Heller’s stage adaptation of The Diary of a Teenage Girl.
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.