Abstract and emotionally rich: Ka Bradley reviews a double bill of new dance works ‘A Night’s Game’ and ‘TERRA’
From death to rebirth: Lee Anderson reviews Marion Bott’s new play about modern life in Berlin. [CW: Suicide]
The mysteries of love: Hailey Bachrach reviews Matthew Lyons’ puzzling, Shakespeare-inspired verse romance.
Going for a dip: Sarah Milton’s solo show dives deep into one woman’s relationship with swimming.
Collective sphincters being clenched: Aino Venna and Ilona Jantti’s cabaret circus doesn’t have quite the desired effect.
Right-sized reactions to the world: Rosemary Waugh reviews Ella Hickson’s The Writer
It’s the little stuff that counts: Joe White’s debut is another special play from a special theatre.
The Ibsen-ness of Ibsen: Rosemary Waugh reviews the National Theatre of Norway’s production of Little Eyolf
Female sensuality is silence and underwear: Ka Bradley reviews an immersive-dining experience billed as a ‘feast of fierce femininity’.
If Pixar did electrons… Francesca Peschier reviews a piece of circus based on the discovery of radioactivity
Dancing around the periphery: there’s a compelling story lurking somewhere in Selina Fillinger’s debut play.
An uneasy mix: Simon Dormandy’s production combines squirmy sexual politics with knockabout comedy.
It wasn’t written for me: Ava Davies reviews Guleraana Mir’s play about a British Pakistani woman and her family
Despicable acts: Rosemary Waugh reviews Shostakovich’s opera, based on the same short story that inspired William Oldroyd and Alice Birch’s recent film.
An Englishman walks into a refugee camp… Amelia Forsbrook reviews Mark Thomas’s show based on his time setting up a comedy club in Palestine.