it is a cry fully a century long colon a review by Maddy Costa comma at the Barbican stop
A lacerating rant against conformity: Tracey Sinclair reviews cabaret artist Penny Arcade’s show at Brighton festival.
Felliniesque chicness does little to lift traditional Romeo and Juliet at the Garrick.
“Unpicking the image of the British seaside towns”: Gillian Greer reviews Lucy Catherine’s new work.
“Sensitive, if not always successful”: Tracey Sinclair reviews the world premiere of Neil Bartlett’s new work about Ernest Boulton.
“I need you to fall.”: Ka Bradley reviews Lost Dog’s return to the Battersea Art’s Centre.
“A bit too clean and palatable”: Miriam Gillinson reviews Simon Stephen’s new adaptation of Brecht.
Compelled to be an avid observer: Anna Winter reviews Jonathan Watkins’ production of Orwell for Northern Ballet.
Gawky pelvic twitches and beautiful botany: Rachel Elderkin reviews Drew McOnie’s re-imagining of R.L. Stevenson’s classic.
“Not enough science for it to be science-driven and not enough character for it to be character-driven.” Catherine Love reviews Idle Motion’s tale of space travel.
Apricot bloomers and leeches: Rosemary Waugh reviews Impermanence Dance Theatre’s night at Kings Weston House.
“A general feeling of mystery to support its own vagueness”: Rafi Mittlefehldt reviews Cynthia von Buhler’s immersive theatre event.
Sex? Prozac? Property?: Emma Smith reviews Stef Smith’s Royal Court debut play about the fine line between animals and humans.
“You gradually learn not to trust a single thing you see”: Andrew Haydon reviews Peeping Tom at HOME.
“A certified three-hanky weepie”: John Murphy reviews Daniel Evans’ final production for Sheffield Theatres.