What can be rebuilt out of the old order? Tracey Sinclair reviews Patrick Marber’s take on Strindberg’s “depressingly relevant” play.
“There’s an unpleasant trend in London theatre at the moment for using sexual violence against women to add a layer of edginess to a text.” Tracey Sinclair reviews Rupert Goold’s Richard III.
A lacerating rant against conformity: Tracey Sinclair reviews cabaret artist Penny Arcade’s show at Brighton festival.
“Sensitive, if not always successful”: Tracey Sinclair reviews the world premiere of Neil Bartlett’s new work about Ernest Boulton.
Tracey Sinclair reviews Vicky Featherstone’s “raucous and earthy” production as part of the Brighton Festival.
Tracey Sinclair reviews Tim Crouch’s “riotous” collaboration with comedy troupe Spymonkey.
“Circus stripped bare”: Tracey Sinclair reviews The Ricochet Project at Brighton Festival.
Best enjoyed with fizz: Tracey Sinclair reviews a juke box musical.
Tracey Sinclair reviews Jean Rogers’ staging of the correspondence between Ellen Terry and George Bernard Shaw.
Tracey Sinclair reviews Peter Whelan’s story of “privacy, autonomy, and morality.”
Identity and individuality are at the crux of the action in Jamie Lloyd’s production.
Manic Pixie Dream Socialist Workers and Lady Macbeth in Alexander McQueen: Tracey Sinclair reviews KCIII.
Tracey Sinclair reviews a “wacky (if witty) rom-com”, slightly lacking its bitter edge.
Contemporary, but still a classic.
Tracey Sinclair on fans, ownership, and the responses to the Harry Potter casting announcements.