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.
Nudity made mundane: Tracey Sinclair reviews a night that’s midway between burlesque show and literary salon.
Underpinned with a fury at the injustice of it all: Tracey Sinclair is completely won over by Jonny Donahoe and Paddy Gervers’ musical about ‘Rich Bastard Tories’.
Tracey Sinclair reviews Tamara Saulwick’s meditation on modern death as part of the Brighton Festival.
Despite a slightly muddled production, Tracey Sinclair finds that Arthur Miller’s The Crucible remains as compelling and relevant as ever.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.
Seeking a friend for the end of the world: Tracey Sinclair reviews Kieran Hurley’s apocalyptic one-man show.
“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.