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.
The foibles of the ruling classes: Lilith Wozniak reviews a satire based on Queen Victoria and Prince Albert.
Ingenious design: Lilith Wozniak reviews the stage adaptation of Joe Simpson’s memoir.
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