Ain’t no party like a Regency ball: Lilith Wozniak reviews Blood of the Young’s irreverent, karaoke-fueled take on Austen.
Why walk when you can flip?: Lilith Wozniak reviews Wise Children’s second production, a nostalgia-soaked adaptation of Enid Blyton’s beloved children’s books.
Wild and well-armed: Maddy Costa reviews Documental Theatre’s country and Western musical following a BHS employee robbed of her pension.
‘Irresistible forward momentum’: Lilith Wozniak reviews composer and theatre-maker Dom Coyote’s time-hopping storytelling show.
Getting the message across: Ben Kulvichit writes on communication and clarity in Mr and Mrs Clark’s show made with deaf performer Jonny Cotsen.
Deep cuts from DJ Anglerfish: Lilith Wozniak on The Wardrobe Ensemble’s latest instalment in their Seekers series for younger years.
The path of most resistance: Lilith Wozniak reviews a multi-stranded project from Headlong, made with four communities from across the UK.
‘The antithesis of magic’: Lilith Wozniak writes on Robin Boon Dale’s performance lecture on the philosophy and physics of juggling.
The sum of its parts: Ben Kulvichit reviews Headlong’s touring production, starring Tom Mothersdale on fine villainous form.
Personal and political: Lilith Wozniak reviews Chinonyerem Odimba’s play for Eclipse Theatre, set during the Bristol Bus Boycott.
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.
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.
‘Shrödinger’s gender’: Lilith Wozniak on Wils Wilson’s lucid, playful production of Twelfth Night.
Death and birth: Lilith Wozniak reviews a double bill of new work developed through Bristol Old Vic’s Ferment programme.