‘It feels like a moment’: Eve Allin responds to Theatre Uncut’s first female-only play series and discussion panel.
A very specific idea of Britishness: Ava Davies writes on a show that meets injustice with sugar-coated tweeness.
A massive middle finger pointed high into the air: Joana Nastari’s solo show is a story of sex work that demands attention.
‘We can only bear witness’: Hailey Bachrach on an emotive journey through the history of Black women in the Americas.
Guilt and Complicity: Hailey Bachrach on how a play about American slavery translates for an Edinburgh audience.
After a captivating start, Hailey Bachrach is left cold by this story about neighbours and homecomings.
“Can dogs count to one million?”: Eve Allin writes a jagged, dog’s-eye response to the story of a girl and her best friend.
Boaz Barkan’s performance-lecture explores the struggle to put dance into words.
A slightly jumbled jumbo: Hailey Bachrach is unconvinced by a one woman adaptation of Michael Morpurgo’s elephant tale.
Language is the weapon of choice: Crystal Bennes reviews a school-set play about learning difficulties and parent-teacher confrontations.
Taking over an Edinburgh flat, Power Play are making space for female-led theatre at the fringe. Here’s Eve Allin on her visit.
Claim, revel, destroy, subvert, love: Rosemary Waugh reviews Samira Elagoz’s verbatim show about rape and men’s reactions to her.
Inheritance, rejection, stasis: Ava Davies reviews Living House Theatre’s playful take on art and history.
Voices have to be heard: Eve Allin on why this well-meaning political piece doesn’t tell the whole story.
Just plain fun: Crystal Bennes on a riotously camp version of Bram Stoker’s blood-sucking horror classic.