Young masters: Poltergeist Theatre’s performance is an entertaining rampage through an art gallery.
Feminist joy: Alice Saville writes on Gina Moxley’s intergenerational exploration of female desire.
Worm in the big apple: Alice Saville writes on Mirenka Cechova’s rapped performance about life as an immigrant in New York city.
Night sweats: In Bed With My Brother’s exhilarating show mixes rave energy with political fury.
Sorry, not sorry: Alice Saville writes on Caroline Horton’s unapologetically, triumphantly bleak narrative of depression and death.
Star power: Alice Saville writes on Idris Elba and Kwame Kwei-Armah’s South Africa-set immersive show.
Beyond nostalgia: Alice Saville writes on a nuanced musical about a lost 1973 gay bar.
Alice Saville sorts the (pink) sheep from the GOATs in her write-up of 2019’s frenetic Latitude festival.
Frozen Warnings: Alice Saville writes on Maxine Peake’s shiver-inducing performance as Nico.
Alice Saville discovers a fringe arts explosion at Iceland’s new festival of grassroots performance.
Pig-nosed whimsy: Alice Saville writes a poem in response to Hare’s firmly unpoetic rewrite of Ibsen’s verse drama.
A bitter draft: Alice Saville reluctantly reviews David Mamet’s Weinstein play.
Alice Saville writes on theatre’s uneasy relationship with trigger warnings, and the faultlines they reveal.
A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.
Immersive shows like Barzakh push their audiences to extremes. But can you really consent to an experience you know nothing about?