Watching through my fingers – Hannah Greenstreet on Milly Thomas’s new plays and theatre’s duty of care.
Reviews
8 August 2017
Reviews • Edinburgh Fringe 2017
Edinburgh Fringe Review: Five Encounters on a Site Called Craigslist
Until 28th August 2017
By Hannah Greenstreet
“A surprisingly tender theatrical experiment”: Hannah Greenstreet reviews YESYESNONO’s exploration of intimacy.
8 August 2017
Reviews • Edinburgh Fringe 2017
Edinburgh Fringe Review: Mies Julie at the Assembly Rooms
3 - 27 August 2017
By Rosemary Waugh
‘Excellent’, ‘astonishing’, ‘devastating’ and all the rest: Rosemary Waugh reviews the return of Yael Farber’s Mies Julie to the Edinburgh Fringe.
8 August 2017
Reviews • Edinburgh Fringe 2017 • Reviews
Edinburgh Fringe Review: Adam and Eve at Traverse Theatre
Until 27th August 2017
By Hannah Greenstreet
Lyrical, joyous and vital – Hannah Greenstreet on the National Theatre of Scotland’s two stories about trans experience.
7 August 2017
Reviews • Edinburgh Fringe 2017
Edinburgh Fringe Review: The Shape of the Pain at Summerhall
until 26 August 2017
By Rosemary Waugh
Have you tried…? Rosemary Waugh reviews Rachel Bagshaw and Chris Thorpe’s show about living with chronic pain.
7 August 2017
Reviews • Edinburgh
EIF Review: Meet Me at Dawn at Traverse Theatre
4 - 27 August 2017
By Hannah Greenstreet
Forces you to slow down: Hannah Greenstreet reviews Zinnie Harris’s new work inspired by the myth of Orpheus and Eurydice.
6 August 2017
Reviews • Edinburgh
EIF Review: Rhinoceros at the Royal Lyceum, Edinburgh
until 12 August 2017
By Rosemary Waugh
A crash, or a stubbornness: Rosemary Waugh reviews Zinnie Harris’s new version of Eugène Ionesco’s Rhinoceros at the EIF.
6 August 2017
Reviews • Edinburgh Fringe 2017
Edinburgh Fringe Review: The B*easts at Underbelly
By Hannah Greenstreet
Monica Dolan’s one woman show is a deliberately un-sensationalised exploration of how children are sexualised.
6 August 2017
Reviews • Edinburgh Fringe 2017
Edinburgh Fringe Review: Mouthpiece at Summerhall
By Hannah Greenstreet
Dissonance and vocal fry – Hannah Greenstreet on a performance that explores gendered speech.
4 August 2017
Reviews • OWE & Fringe
Review: The Wasp at Jermyn Street Theatre
31 July - 12 August 2017
By Francesca Peschier
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.
3 August 2017
Reviews • Exeter • Reviews
Review: Cow at The Boat Shed, Exeter
By Chris White
A long and arduous country ramble: Chris White reviews Jessica Barker-Wren’s rural tragicomedy.
2 August 2017
Reviews • Dublin
Review: Jimmy’s Hall at the Abbey Theatre, Dublin
31 July - 19 August 2017
By Chris McCormack
Space for freethinking: Chris McCormack reviews the Abbey Theatre’s adaptation of a Ken Loach film.
1 August 2017
Reviews • Dublin
Review: Talk to Me like the Rain at Bewley’s Café Theatre @ Powerscourt, Dublin
26 July - 9 September 2017
By Chris McCormack
Dreaming of a new destination: Chris McCormack reviews a double bill of two short plays by Tennessee Williams.
31 July 2017
Reviews • London Theatre • OWE & Fringe • Reviews
Review: Coming Clean at the King’s Head Theatre
July 25 - August 26
By Francesca Peschier
Francesca Peschier discovers polyamory and queer domesticity in a current-feeling revival of Kevin Elyot’s 1982 play.
31 July 2017
Reviews • Galway
Review: The Second Violinist at Galway International Festival
By Chris McCormack
Strindbergian in intensity: Chris McCormack reviews Donnacha Dennehy and Enda Walsh’s new opera.