“A well-deserved second wind”: Tracey Sinclair reviews English Touring Theatre’s revival of Sam Holcroft’s Ayckbourn-esque 2015 comedy.
“More than mere monster”: Tracey Sinclair reviews Neil Bartlett’s “fresh and relevant” staging of Jean René Lemoine’s radical, one-man reworking of the Medea myth.
Remarkably fresh, depressingly relevant: Tracey Sinclair sees the contemporary parallels in Gore Vidal’s 1960 political thriller about a hard-fought race for The White House.
Baggy where it should be tight, and flat where it should sparkle: Tracey Sinclair reviews the touring production of Ira Levin’s thriller
Nostalgia-tinged: Tracey Sinclair reviews The Wedding Singer in Brighton as part of its UK tour.
Guts and glitter: Tracey Sinclair reviews the touring production of Harvey Fierstein and Jerry Herman’s musical.
Rattles along like high heels on a city sidewalk: Tracey Sinclair reviews Tori Scott performing in Brighton.
Properly unsettling: Tracey Sinclair reviews Ester Natzijl’s disconcerting work at the Brighton Fringe.
A small gem: Tracey Sinclair reviews Jack Rooke’s debut solo show at the Brighton Fringe.
Fizzing with wit and invention: Tracey Sinclair reviews The Hiccup Project’s performance at the Brighton Festival.
Nudity made mundane: Tracey Sinclair reviews a night that’s midway between burlesque show and literary salon.
Underpinned with a fury at the injustice of it all: Tracey Sinclair is completely won over by Jonny Donahoe and Paddy Gervers’ musical about ‘Rich Bastard Tories’.
Tracey Sinclair reviews Tamara Saulwick’s meditation on modern death as part of the Brighton Festival.
Despite a slightly muddled production, Tracey Sinclair finds that Arthur Miller’s The Crucible remains as compelling and relevant as ever.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.