NORMAL THEATRE SUCKS! Amelia Forsbrook is soaked, glittered and submerged in the excess of J-pop fandom.
God’s own country: Louise Jones reviews the York Mystery Plays in York Minster.
“The King of Kings and the King of Vegas”: Amelia Forsbrook reviews the ENO’s performance of Janáček’s opera.
“Waterfalls of language”: Seth Simons reviews New Saloon’s experiment with six simultaneous translations of Uncle Vanya.
“The land was never any man’s to sell”: David Ralf reviews Malthouse Theatre’s adaptation of King Lear.
Hope in youth: Rosemary Waugh reviews Iqbal Khan’s Macbeth.
Peeling back layers of sorrow: Nicole Serratore reviews a new production by Theater Breaking Through Barriers.
Operating in unison: Daniel Perks reviews Cirque Alfonse in the Southbank’s Spiegeltent.
“What exactly was the point?”: Gillian Greer reviews Robert Hastie’s Henry V with Michelle Terry in the title role.
A different type of politician: Gillian Greer reviews the European premiere of a play about the parents of the Canadian Prime Minister.
“The pain of separating simulation from the real deal”: Chris McCormack reviews Malaprop’s cyber drama.
“This production sharply reminds that people are still sacrificing today”: Chris McCormack reviews Corcadorca’s promenade through Irish history.
“On the night of a rare, red-tinted full moon…” Dave Fargnoli reviews Crick Crack Club’s latest evening of storytelling for grown-ups.
“The fart in the church of feminist discourse”: Ka Bradley reviews Liz Aggiss’s performance of performativity at The Place.
“The title character is the linchpin here”: Daniel Perks reviews Emily Juniper’s adaptation of Maxim Gorky.