The art of sitting on a bench: Rosemary Waugh reviews Tom Morris’s production of King Lear.
A mead-swilling version of the British Isles: Rosemary Waugh reviews Insane Root’s production of Macbeth in Redcliffe Caves.
Ponytails and Nike Air Max 90s: Rosemary Waugh reviews Ambreen Razia’s solo show about a British-Pakistani teenager.
The wobbly world of Marc Chagall: Rosemary Waugh reviews Emma Rice’s delicate production for Kneehigh.
Rosemary Waugh attempts (and fails) to reviews one of the closing shows of Mayfest 2016.
Apricot bloomers and leeches: Rosemary Waugh reviews Impermanence Dance Theatre’s night at Kings Weston House.
“A slightly dull lecture”: Kate Wyver reviews the Sue MacLaine Company’s show at Mayfest 2016.
Eleanor Turney reviews Selina Thompson’s unapologetic and searching show about her Transatlantic journey retracing the Slave Triangle.
Another day, another meta-theatrical experience for Eleanor Turney at Mayfest 2016 with Stuart Bowden’s “lovely, if strange, show”.
Eleanor Turney reviews Tim Crouch and Spymonkey’s Shakespearian death countdown at Mayfest 2016.
When niceness is greatness: Rosemary Waugh reviews Igor and Moreno’s jumping, jumping, jumping at Mayfest 2016.
“Heart-warming mix of sincerity and self-mockery”: Eleanor Turney reviews Jamie Wood’s show involving a bag load of audience participation.
“It’s shonky, disjointed, random pieces bolted together, rough and ready – but it’s beautiful.” Maddy Costa reviews Vic Llewellyn and Kid Carpet at Mayfest 2016.
Maddy Costa reviews Massive Owl’s journey into the “coming-of-age-story”.
“Very, very clever”: Eleanor Turney reviews Dead Centre’s picking apart and rebuilding of Chekhov (with added Miley Cyrus).