Magical-realism by way of light yet damning political critique: Catherine Love reviews Alan Harris’ “strange, delicate” 2015 Bruntwood Prize-winner.
Dangerously charged: Catherine Love reviews Footprint Theatre’s performance of Daniel in Manchester.
A thing of then and now and whatever the hell might be next: Catherine Love reviews Cock and Bull, two years on from when it was made.
Death. Illness. Identity: Catherine Love reviews the Sick! Festival in Manchester.
This is unquestionably about identity: Catherine Love reviews Lucy Jane Parkinson in JOAN.
The truly transformative nature of Graeae’s approach can’t be underestimated: Joe Turnbull from Disability Arts Online reviews a new production of Lorca’s play using an all-female, D/deaf and disabled cast.
Somewhere across the icy waters: Catherine Love reviews Liz Nunnery’s WWII play with songs.
An uncertain piece of theatre in uncertain times: Catherine Love reviews Powder Keg’s performance as part of PUSH festival 2017.
We don’t just see the ethical conundrums faced by factory owners; we experience them: Catherine Love reviews World Factory.
Taking back control: Catherine Love reviews Two Destination Language’s show about modern masculinity.
The loving mixture of homage and piss-take: Catherine Love reviews Kill The Beast at The Lowry.
Catherine Love reviews Maxine Peake’s “compelling and impressively fresh” performance as Blanche DuBois.
“You gradually learn not to trust a single thing you see”: Andrew Haydon reviews Peeping Tom at HOME.
The oldest hath borne most: James Varney reviews Michael Buffong’s production of Shakespeare.
“Monopolising on misery… without any commentary or attempt at solution or alternative.” James Varney reviews Breach’s The Beanfield.