Cartoon magic: Lilith Wozniak reviews Protein Dance’s ‘playful and joyous’ adaptation of the much-loved book.
National
31 October 2019
Reviews • National • Newcastle
Review: Alex and Eliza at Northern Stage
29th October, then touring
By Tracey Sinclair
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.
31 October 2019
Reviews • Manchester • National
Review: Light Falls at Royal Exchange Manchester
24 October - 16 November
By James Varney
A storm about to break: James Varney on the intricate relationships in Simon Stephens’ melancholic drama, which marks the end of Sarah Frankcom’s tenure at the Royal Exchange.
28 October 2019
Reviews • Glasgow • National
Review: The Monstrous Heart at Traverse, Edinburgh
22 October - 2 November
By Christine Irvine
Family monsters: Christine Irvine reviews Oliver Emmanuel’s dark, tormented play about an estranged mother and daughter.
27 October 2019
Reviews • Cardiff • National
Review: Hedda Gabler at Sherman Theatre, Cardiff
18 October - 2 November
By Sally Hales
Surgical precision: Sally Hales writes on Hedda’s struggle ‘to be seen on her own terms’ in Chelsea Walker’s crystal-clear production.
27 October 2019
Reviews • Glasgow • National
Review: DADDERS at Dance International Glasgow
22 October, then touring
By Andrew Edwards
Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.
26 October 2019
Reviews • National • Oxford
Review: Nuclear Future at North Wall, Oxford
23rd October, then touring
By Hannah Greenstreet
‘Contemplating the unthinkable’: Hannah Greenstreet writes on the macro and the micro in Gameshow’s play about dealing with existential threat.
20 October 2019
Reviews • Leeds • National
Review: There Are No Beginnings at Leeds Playhouse
16 October - 2 November
By John Murphy
A shadow over town: John Murphy reviews Charley Miles’ feminist-lensed play about the fear bred by the Yorkshire Ripper murders.
20 October 2019
Reviews • Glasgow • National
Review: Crowd at Dance International Glasgow
16 October
By Andrew Edwards
Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.
17 October 2019
Reviews • National • Newcastle
Review: Isolation at Alphabetti Theatre, Newcastle
15-18 October
By Tracey Sinclair
Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.
14 October 2019
Reviews • Glasgow • National
Review: GRIN at Dance International Glasgow
11-12 October
By Andrew Edwards
‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.
![Review: Extraordinary Wall [of Silence] at Bristol Old Vic](http://exeuntmagazine.com/wp-content/uploads/c-Alex-Brenner-no-use-without-credit-Ad-Infinitum-Extraordinary-Wall-of-Silence-@-BOV-DSC_2360-600x398.jpg)
14 October 2019
Reviews • Bristol • National
Review: Extraordinary Wall [of Silence] at Bristol Old Vic
5-19 October, then touring
By Lilith Wozniak
Resistance and solidarity: Lilith Wonziak reviews Theatre Ad Infinitum’s latest show exploring the challenges and prejudice faced by the Deaf community.
10 October 2019
Reviews • National • Newcastle
Review: Bluebeard at Alphabetti Theatre, Newcastle
8-12 October
By Tracey Sinclair
High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.
27 September 2019
Reviews • National • Newcastle
Review: Wasteland at Northern Stage, Newcastle
25-26 September, then touring
By Tracey Sinclair
‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
27 September 2019
Reviews • Cardiff • National
Review: On Bear Ridge at Sherman Theatre, Cardiff
20 September - 5 October, then touring
By Lilith Wozniak
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.