Pertinent and unsettling: John Murphy reviews a stage adaptation of Ken Kesey’s novel.
Love and playwriting: Chris McCormack reviews Brian Friel’s two-part play.
A tough act to resist: Tracey Sinclair falls for the big-hearted charm of Laurence O’Keefe and Nell Benjamin’s stage adaptation on its national tour.
And what an atmosphere… Peter Kirwan reviews Mufaro Makubika’s award-winning play set in 1950s Nottingham.
Boom and bust: Chris McCormack reviews Veronica Dyas’ new play inspired by Bertolt Brecht’s The Mother.
Tracey Sinclair reviews a one man show about an ingenious stretch of coastal electric railway
Brains and guts beneath glitzy excess: Sh!t Theatre’s love letter to Dolly Parton is gloriously chaotic fun.
A beautiful game: Improbable’s devised show mixes football and feminism, in a tribute to the power of teamwork.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
‘It’s the kind of weird theatre show that I want to bring all of my non-theatre friends to see’: Lilith Wozniak reviews Richard Allen’s show as part of Mayfest 2018.
‘The air of stifling, claustrophobic routine’: David Pollock reviews Martin McCormick’s absurdist play
Rosemary Waugh reviews the British Paraorchestra’s new work inspired by the theoretical physicist Richard Feynman, as part of Bristol’s Mayfest
Louise Jones submits her examination paper for Jonathan Lewis’ play. (And promises she didn’t cheat.)
‘Push and pull and stumble; pain and discomfort’: Lilith Wozniak reviews a show by Osaka-based collective Contact Gonzo at Bristol’s Mayfest.
Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show