“A strap-on does not a magic wand make” – Amelia Forsbrook reviews Above the Stag’s maiden voyage into lesbian theatre.
‘Bed-ridden with everything except a husband’: Amelia Forsbrook reviews the ROH’s ballet about the last Tudor on the throne.
An Englishman walks into a refugee camp… Amelia Forsbrook reviews Mark Thomas’s show based on his time setting up a comedy club in Palestine.
Love and hate: Stephanie Silver’s play explores the impact of the 7/7 bombings on a group of teenage Londoners.
Pilgrimage and existential doubt: Amelia Forsbrook reviews Vakhtangov State Academic Theatre of Russia at the Barbican
Mother and lover: Amelia Forsbrook reviews the new stage adaptation of Colin Higgins’ cult classic film
Sculptural contortion, poise, balance and strength: Amelia Forsbrook reviews a final triple bill of shows at The Place’s annual festival of new dance
A new year’s resolution well kept: Amelia Forsbrook reviews a triple bill of works at The Place’s annual festival of new dance.
Power play: Amelia Forsbrook reviews Ian Rickson’s production of Pinter.
A hyperactive primary-coloured tale: Amelia Forsbrook reviews Cirque du Soleil’s new show.
Identity crisis: Amelia Forsbrook reviews Nico Muhly’s ‘non-committal’ opera.
â€œAs this is a piece of immersive theatre, it doesnâ€™t work unless you follow the rulesâ€: Amelia Forsbrook reviews Les Enfants Terrible’s staging of the story of Pussy Riot.
Escaping definition: Amelia Forsbrook rounds-up three female-led shows at Dance Umbrella 2017.
Requardt and Rosenberg’s Deadclub “clashes a childrenâ€™s party with the ticking timebomb of our own inevitable demise”.
Thrown MacBooks and fragile male egos: Amelia Forsbrook reviews the London transfer of The Mentor.