Over-mannered and under-nuanced: Tracey Sinclair reviews Anthony Banks’ production of Gaslight.
“Understands the poignant, personal nature of true fandom”: Tracey Sinclair reviews Adrian Berry’s tribute to the influence of David Bowie.
Slight, but suitably spooky: Tracey Sinclair reviews a double bill of shows at the Brighton HorrorFest.
More a comedy of manners than compelling romance: Tracey Sinclair reviews Simon Reade’s new stage adaptation of E.M. Forster’s novel.
Actors acting as actors: Tracey Sinclair reviews a revival of The Dresser ahead of its London run, with two excellent performances from Ken Stott and Reece Shearsmith.
Safely, but nicely, done: Tracey Sinclair reviews Alan Ayckbourn’s classic farce at the Theatre Royal Brighton.
Ramshackle, rambunctious charm: Tracey Sinclair reviews Youth Music Theatre UK’s performance at the Theatre Royal Brighton.
Tracey Sinclair reviews the theatrical equivalent of a Sunday night TV show at the Theatre Royal Brighton.
What can be rebuilt out of the old order? Tracey Sinclair reviews Patrick Marber’s take on Strindberg’s “depressingly relevant” play.
A lacerating rant against conformity: Tracey Sinclair reviews cabaret artist Penny Arcade’s show at Brighton festival.
“Sensitive, if not always successful”: Tracey Sinclair reviews the world premiere of Neil Bartlett’s new work about Ernest Boulton.
Tracey Sinclair reviews Vicky Featherstone’s “raucous and earthy” production as part of the Brighton Festival.
Tracey Sinclair reviews Tim Crouch’s “riotous” collaboration with comedy troupe Spymonkey.
“Circus stripped bare”: Tracey Sinclair reviews The Ricochet Project at Brighton Festival.
“You can say the wrong thing” – William Drew offers a spoiler-free preparation document for interactive performance Operation Black Antler, part of the Brighton Festival.