Frey Kwa Hawking reviews a play that ‘doesn’t make conventional sense, but a kind of sense you feel intuitively.’
You have nothing to fear: Rosemary Waugh reviews Scottish Dance Theatre with a work inspired by Robert Mapplethorpe.
Makes a seemingly little play vast: Frey Kwa Hawking reviews the Public Acts production of Shakespeare’s Pericles.
Reclaiming a poet: Rosemary Waugh reviews Morgan Lloyd Malcolm’s new play about Emilia Bassano.
‘The bleak loneliness faced by the outcasts of society’: Nabilah Said reviews this one-man show about an illegal digital market place.
Meaningful and lovely: Laura Wade’s exploration of ’50s domesticity swells into something surprisingly heartfelt.
Just your average guy… until he’s not: Rosemary Waugh reviews Claire van Kampen’s Othello.
Ian McKellan is exceptional in a King Lear that’s all about Lear.
American dreaming: Rosemary Waugh reviews the story of the Lehman brothers.
Intricately drawn: Alice Saville on the soaring, beautiful musical adaptation of Alison Bechdel’s graphic novel.
A disordered kingdom: Ionesco’s play is an absurd meditation on mortality.
Warning: this review explodes. Hannah Greenstreet grapples with Rory Mullarkey’s new play.
Wild and beautiful: Frey Kwa Hawking writes on Sally Cookson’s moving adaptation of a story of grief.
“It was nice while it lasted”: Max Webster’s uncomplicated production is rudely interrupted by a certain Mr Donald Trump.
‘Blunt, sparse, and deeply seductive’: Freddie Machin reviews an evening of the music suppressed by the Nazis.