Going Greene: Bryony Lavery’s new adaptation of Brighton Rock is unsettling and menacing.
Sunday night TV: Roy Marsden’s touring stage adaptation of Ruth Rendell’s classic thriller is solid and serviceable.
Ageing disgracefully: this Ayckbourn comedy’s best days are behind it.
The Chocolate Cream Poisoner: Tracey Sinclair reviews the second show in the Theatre Royal Brighton’s Out of Hours season.
“A female Alan Bennett with the voice of an angel”: Tracey Sinclair reviews Catherine Ireton’s touring one-woman show about little acts of bravery.
“A well-deserved second wind”: Tracey Sinclair reviews English Touring Theatre’s revival of Sam Holcroft’s Ayckbourn-esque 2015 comedy.
“More than mere monster”: Tracey Sinclair reviews Neil Bartlett’s “fresh and relevant” staging of Jean René Lemoine’s radical, one-man reworking of the Medea myth.
Remarkably fresh, depressingly relevant: Tracey Sinclair sees the contemporary parallels in Gore Vidal’s 1960 political thriller about a hard-fought race for The White House.
Baggy where it should be tight, and flat where it should sparkle: Tracey Sinclair reviews the touring production of Ira Levin’s thriller
Nostalgia-tinged: Tracey Sinclair reviews The Wedding Singer in Brighton as part of its UK tour.
Guts and glitter: Tracey Sinclair reviews the touring production of Harvey Fierstein and Jerry Herman’s musical.
Rattles along like high heels on a city sidewalk: Tracey Sinclair reviews Tori Scott performing in Brighton.
Properly unsettling: Tracey Sinclair reviews Ester Natzijl’s disconcerting work at the Brighton Fringe.
A small gem: Tracey Sinclair reviews Jack Rooke’s debut solo show at the Brighton Fringe.
Fizzing with wit and invention: Tracey Sinclair reviews The Hiccup Project’s performance at the Brighton Festival.