“I find myself getting up…and saying my piece”. Tracey Sinclair writes on her unexpectedly personal response to ‘Working Class Dinner Party’, hosted by performance artists Scottee, Selina Thompson and Bryony Kimmings.
Ancient Greece set to synth pop: Tracey Sinclair reviews Pecho Mama’s retelling of the Medea myth.
Singing us out in style: Tracey Sinclair reviews Dom Coyote & the Bloodmonkeys’ apocalyptic gig theatre.
A joy to watch: Tracey Sinclair reviews Jessica Swale’s Nell Gwynn, as part of its UK tour.
Over-mannered and under-nuanced: Tracey Sinclair reviews Anthony Banks’ production of Gaslight.
“Understands the poignant, personal nature of true fandom”: Tracey Sinclair reviews Adrian Berry’s tribute to the influence of David Bowie.
Slight, but suitably spooky: Tracey Sinclair reviews a double bill of shows at the Brighton HorrorFest.
More a comedy of manners than compelling romance: Tracey Sinclair reviews Simon Reade’s new stage adaptation of E.M. Forster’s novel.
Actors acting as actors: Tracey Sinclair reviews a revival of The Dresser ahead of its London run, with two excellent performances from Ken Stott and Reece Shearsmith.
Safely, but nicely, done: Tracey Sinclair reviews Alan Ayckbourn’s classic farce at the Theatre Royal Brighton.
Ramshackle, rambunctious charm: Tracey Sinclair reviews Youth Music Theatre UK’s performance at the Theatre Royal Brighton.
Tracey Sinclair reviews the theatrical equivalent of a Sunday night TV show at the Theatre Royal Brighton.
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.