Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy’s first one-man show in over a decade.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.
A body squirming in the gallows: Chris McCormack heads to Galway Theatre Festival to review Brick Wall Theatre’s production of Pierre Brault’s 1999 play.
Lessons woven from art history: Chris McCormack emerges, paint-splattered and perceptive, from Emma Jordan’s revival of John Logan’s 2009 play.
*IF YOU HAVE NOTHING TO HIDE YOU HAVE NOTHING TO FEAR* Christine Irvine reviews Proto-type Theater’s exploration of surveillance technology.
Weirder than Westminster: Rosemary Waugh reviews Shakespeare at the Tobacco Factory’s modern Molière.
A passion play: Matt Miller reviews Patrick Marber’s play about god, nostalgia and football.
Underdeveloped and ultimately forgettable: Caryl Churchill’s dissection of the nature/nurture debate is staged as part of the Edinburgh Science Festival.
The pleasing paradox of insanity: Geoff Mills plays mindgames of his own with Anthony Horowitz.
Making Steph Houghton proud: Naia Headland-Vanni reviews Sabrina Mahfouz and Hollie McNish’s play about female footballers.
Shaking heaven to be heard: Chris McCormack is swept up in Brokentalkers’ politically charged, modern-day reimagining of the Passion Play.
Will, Barney and I: Rosemary Waugh and her imaginary friends enjoy a day out in Salisbury.
I get it, finally: Jackie Montague has a revelatory evening with Ramps on the Moon’s revival of The Who’s Tommy
Watching the world come to a standstill: Andrew Edwards reviews Stef Smith’s new play about technology and human connections.
Cowardly nostalgia: Chris McCormack lingers in the halcyon bliss of Noël Coward’s 1930 comedy.