‘Sharpness and spikiness’: Tracey Sinclair reviews Katie Arnstein’s nostalgia-laced debut show about a feminist coming-of-age.
Scuttling sand-creatures and killer hairballs: Tracey Sinclair reviews a duo of surreal puppet shows at Newcastle’s Moving Parts Festival.
Who cares?: Tracey Sinclair reviews John McKenna’s theatrical enquiry into Northern Ireland’s political landscape.
Privatisation and private moments: Tracey Sinclair reviews a double bill of plays addressing hot social issues as part of Live Theatre’s Elevator Festival for new work.
‘Freed from traditional confines’: Tracey Sinclair, self-proclaimed ‘dance ignoramus’, reviews a double bill from BalletBoyz.
‘Alan Bennett with funkier hair’: Tracey Sinclair reviews a one-man show about political factionalism and punk music at Live Theatre’s Elevator Festival.
Taking it seriously: Tracey Sinclair reviews David Edwards’ demystifying verbatim show about the realities of living with OCD.
Mining the past: Tracey Sinclair writes on the nuanced portrayal of a ‘fragile ecosystem’ of men in Beth Steel’s mining drama.
Keep the faith: Tracey Sinclair reviews the The Letter Room’s uplifting, music-filled performance about overcoming depression.
Strange meeting: Tracey Sinclair reviews Gary Kitching and Steve Byron’s two-hander about men left behind by social systems.
Season’s greetings: Tracey Sinclair reviews a warm-hearted quartet of short plays from emerging writers.
Real stories: Tracey Sinclair on Open Clasp’s nuanced, heartfelt play looking at life after prison, based on the story of its real-life mother and daughter cast.
‘I hope for better stories than these’: Tracey Sinclair writes on the prevalence of violence against women as plot device in her review of She Production’s devised play.
‘Shiny baubles’: Tracey Sinclair reviews Elayce Ismail’s production of Dylan Thomas’s radio play.
Visions of the future: Unlimited Theatre and RashDash collaborate on a whirlwind of speculative scenarios on technology and the body.