Messages from the other side: Tom Marshman’s solo show summons the spirits of men persecuted for being gay in 1950s Britain.
Lilith Wozniak reviews a new show about raising children, Russian folklore and how the theatre industry supports mothers.
A company with really exciting ideas: Wilderbeast’s debut show is a mix of classy and clunky.
RENAISSANCE! PLAYSUITS! Lilith Wozniak reviews a musical, double trouble performance by She Goat.
Rosemary Waugh reviews the British Paraorchestra’s new work inspired by the theoretical physicist Richard Feynman, as part of Bristol’s Mayfest
‘Push and pull and stumble; pain and discomfort’: Lilith Wozniak reviews a show by Osaka-based collective Contact Gonzo at Bristol’s Mayfest.
Timelessness: Lilith Wozniak reviews a new production of Arthur Miller’s classic play
Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes.
Fierce, real, awkward and fake: Lilith Wozniak reviews dance artist James Morgan’s show about myth, monsters and queer identity
Washed away: Wassail Theatre Company’s devised response to the 2013/14 floods plays with space and audience interaction.
Simple8’s adaptation of Forster’s novel is a formulaic take on an intriguing text.
A wild goose chase: Travelling Light’s adaptation is a joyous, inventive blend of storytelling and song.
Take That: Kid Carpet’s Christmas show takes place in a giant ornament nicked from Gary Barlow.
Joy and darkness: Lilith Wozniak on the periodically uncomfortable charms of Emma Rice and Joel Horwood’s family show.
Sunshine and suicide: Rosemary Waugh reviews the English National Ballet’s performance of Nureyev’s take on Shakespeare.