Ritual resurrection: Henry Gleaden writes on Nigerian-American performance artist Jaamil Olawale Kosoko’s heady, emotional summoning of the Black dead.
Untranslatable: Henry Gleaden writes on Jaha Koo’s melancholy performance about the personal impact of South Korea’s financial crisis.
Panto pedagogy: Hester Chillingworth’s pantomime ditches dodgy gags and tired tropes for a transpositive alternative.
A certain charm in their reliability… Tracey Sinclair reviews the latest show from the Classic Thriller Theatre Company.
A tough act to resist: Tracey Sinclair falls for the big-hearted charm of Laurence O’Keefe and Nell Benjamin’s stage adaptation on its national tour.
Tracey Sinclair reviews a one man show about an ingenious stretch of coastal electric railway
Brains and guts beneath glitzy excess: Sh!t Theatre’s love letter to Dolly Parton is gloriously chaotic fun.
‘Mounting claustrophobia’: Tracey Sinclair reviews Patrick Hamilton’s classic, as part of the Brighton Fringe 2018.
Fancy hats and flower arranging: Tracey Sinclair reviews comedian Simon Topping’s solo show.
A sonic pioneer: Noctium Theatre tell the story of the woman who created the Doctor Who theme tune (and much more).
Going Greene: Bryony Lavery’s new adaptation of Brighton Rock is unsettling and menacing.
Sunday night TV: Roy Marsden’s touring stage adaptation of Ruth Rendell’s classic thriller is solid and serviceable.
Ageing disgracefully: this Ayckbourn comedy’s best days are behind it.
The Chocolate Cream Poisoner: Tracey Sinclair reviews the second show in the Theatre Royal Brighton’s Out of Hours season.
“A female Alan Bennett with the voice of an angel”: Tracey Sinclair reviews Catherine Ireton’s touring one-woman show about little acts of bravery.