Cookie crumbs: Rosemary Waugh reviews Sabrina Mahfouz’s play about abortion and miscarriage.
Opera? Football? We’re all there for the same reasons.
“Overly ambitious”: Kate Wyver reviews Peepolykus’s adaptation of Flaubert.
Shakespeare at the Tobacco Factory bring a touch of the macabre to this slightly gothic production.
“We are in a house of glass that at every moment is threatening to shatter onto its occupants.” Rosemary Waugh reviews Richard Eyre’s staging of Eugene O’Neill.
Patent leather and feather dusters send the WNO’s new opera rapidly down hill.
Shiny trousers and stripy blazers abound in the WNO’s opening to the Figaro Forever season.
Robert Lloyd Parry brings the dark and stormy night into the Tobacco Factory.
Sally Cookson directs a raw and angry adaptation of Euripides.
Eno Mfon moves from the political to the personal whilst exploring colourism and skin bleaching.
Travelling in circles: Rosemary Waugh reviews The Odyssey by the Mark Bruce Company.
Theresa Ikoko’s work presents a very different ‘voice of a generation’.
“Have you ever noted the similarity between the sound of an elephants’ trumpet and an air raid siren?” Kate Wyver on the Bristol Old Vic’s adaptation of Michael Morpugo’s moving wartime story.
Protein shakes and the Victorian slums: Rosemary Waugh reviews Cuckoo Collective’s debut work.
“It doesn’t feel like a call for revolution”: Kate Wyver reviews Write By Number’s production about gentrification.