That guy on the tube playing music from his phone… Bojana Jankovic reviews the UK premiere of Matei Visniec’s surreal comedy.
Through the veins of a broken old house in Brighton: Gillian Greer reviews Jolie Booth’s new show at the Vault Festival 2017.
‘Mouse Toilet’, ‘Blood Army’, and ‘Road Queen’: Corrie Tan reviews ImmerCity’s immersive production at the Vaults Festival 2017.
Takes on an honesty all of its own: Gillian Greer reviews James Rowland’s “twinkle-eyed telling of an untrue love story”.
Bizarre. Wonderfully so: Mary Halton overcomes a hesitant relationship with the Brontë sisters to be won over by Publick Transport’s Vault festival performance.
A very familiar spacewalk: Amy Borsuk starts off our Vault Festival 2017 coverage with a review of Brave Badger’s intergalactic play.
Worms and germs: Miriam Gillinson goes for dinner with Mr and Mrs Twit.
Lepidopterology: Amelia Forsbrook reviews Mark Healy’s adaptation of John Fowles’s novel.
Scotophobia: Daniel Perks reviews a play about paranoia in the darkness of the Vaults.
“Of course, anyone would be very lucky indeed to drag a female orgasm out for sixty minutes.” Amelia Forsbrook reviews a trio of one-woman performances at Vaults.
External and internal fights are pitted against one another in Tallulah Brown’s story of female identity.
What does another negative review bring to the conversation?
“Anarchic, fast and unrelenting – despite the fact that the only other recurring performer in it is a balloon taped to a stick with a face drawn on it in permanent marker.”
Scottish sea creatures emerge in Sealionwoman’s show, but it amounts to “little more than an exercise in sound and fury”.
“His mantra is a praise for life, a real eulogy.”