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.
A mountain of a man? Tracey Sinclair writes on the nuanced performances in the touring production of Katori Hall’s play.
Loss of innocence: Tracey Sinclair reviews the first stage adaptation of Alice Sebold’s novel.
A group hug? Tracey Sinclair reviews a devised work by new North East company Circ Motif.
Little but hard choices: Tracey Sinclair reviews a stage adaptation of James Mitchell’s TV series.
A certain charm in their reliability… Tracey Sinclair reviews the latest show from the Classic Thriller Theatre Company.
Fringe season is upon us, so Tracey Sinclair has canvassed theatre critics to compile this guide to how shows can maximise their chances of getting reviewed.