Not your common-or-garden Christmas show: Lucian Waugh reviews Vivienne Franzmann’s version of The Snow Queen.
Wonderfully and inappropriately gory: Lucian Waugh reviews the return of Sally Cookson’s Cinderella to Bristol.
When ‘feel good’ makes you ‘feel bad’: Rosemary Waugh reviews Broken Biscuits as part of its UK tour.
Storytelling that lasts forever: Rosemary Waugh reviews Theatre Ad Infinitum’s version of The Odyssey.
The ghosts of St Thomas the Martyr: Rosemary Waugh reviews Submerge Festival’s triple bill of performances.
The Bright Black Edge of Nowhere. Or, How I Survived The Cube by Rosemary Waugh.
The pain that connects us: Rosemary Waugh reviews Laura Dannequin’s Hardy Animal.
Patching things up: Rosemary Waugh reviews Viv Gordon’s new performance piece about GPs struggling to cope.
Love, loss and unlikely friendship: Kate Wyver reviews Kneehigh’s adaptation of Michael Morpurgo’s story.
Our father who art in Devon: Rosemary Waugh reviews Lucy Bell’s new play about Alpha courses and Mumsnet.
Telling ghost stories: Kate Wyver reviews a new production of The Weir directed by Rachel O’Riordan.
Pearly whites with a lack of bite: Rosemary Waugh reviews the Bristol Old Vic’s new macabre musical.
Rosemary Waugh provides three answers to the question: ‘how do you review Akram Khan’s Giselle?’
“I know you’re the boss, sir / But it’s about your lifestyle – you’re a toss-er”: Rosemary Waugh reviews Opera Project’s slightly different take on Mozart’s Don Giovanni.
And the winner is Janáček: Rosemary Waugh reviews a performance of Laura Wade’s Kreutzer Vs Kreutzer as part of a short UK tour.