Someone else’s shoes: Lilith Wozniak writes on the mechanics of empathy in an immersive audio experience in Bristol shopping quarter.
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.
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.
Dances with difference: Aniqah Choudhri reviews Cathy Marsten and Arthur Pita-choreographed ballets for the all-PoC company Ballet Black.
Real stories: Tracey Sinclair on Open Clasp’s nuanced, heartfelt play looking at life after prison, based on the story of its real-life mother and daughter cast.
Skirting around sharp edges: James Varney reviews an all-male production of Jean Genet’s The Maids which doesn’t quite deliver on its promises.
“Be a mother to another”: John Murphy writes on Akeim Toussaint Buck’s engaging and accessible solo dance piece on the diasporic experience.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
Gift shop Frida Kahlo: Lilith Wozniak writes on Deborah Antoinette and China Blue Fish’s sketch show, and asks what we want from feminist theatre.
‘I hope for better stories than these’: Tracey Sinclair writes on the prevalence of violence against women as plot device in her review of She Production’s devised play.
A broad brush: Louise Jones finds this adaptation of Jane Austen’s novel yields uneven results.
Holding fiction to account: Peter Kirwan writes on the representation of madness in Nottingham Playhouse’s revival of Alan Bennett’s play.