Someone else’s shoes: Lilith Wozniak writes on the mechanics of empathy in an immersive audio experience in Bristol shopping quarter.
Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding’s ‘gentle and very different Christmas show’
The little things: Lilith Wozniak writes on the detail and scale of The Borrowers.
‘Shimmer and sparkle’: Catherine Love reviews an unlikely Christmas show which delights as much as it unsettles.
Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.
Hailey Bachrach writes on the Menier’s wintry new staging of a musical that’s “by and for the kinds of Jews who want something to celebrate at Christmastime”.
A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow’s Take That! musical.
Ava Wong Davies writes on a production that’s strong in hotness, but lacking in menace.
Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.
‘Joyful sincerity’: Pete Kirwan writes on an earnest, escapist panto that brings the 12th century into the 21st.
Layers of reconstruction: Hailey Bachrach writes on a verbatim theatre event that “plays with the boundaries of ‘now’ and ‘then’.”
Intrepid panto correspondent and newbie Londoner Rosemary Waugh reviews the bright lights of Jude Christian and Cariad Lloyd’s pantomime
Counting the cost of love: Lauren Mooney reviews Haley McGee’s ‘consistently hilarious and hypnotically honest’ solo show
‘Talented young voices’: Hailey Bachrach writes on the impressive performances at the heart of the National Youth Theatre’s Macbeth.