Like Fantasia – only better: Amy Borsuk reviews Gyre & Gimble interpretation of Vivaldi using puppetry
Garden party: Paul Miller’s revival of Charlotte Jones 2001 play is a leafy, laughter-filled delight.
Warmth, fun, creativity, glitter: Amy Borsuk reviews Fine and Dandy, and The Cluedo Club Killings, performed by the Arcola Queer Collective
Money or morals: Amy Borsuk reviews Sarah Burgess’s play set in a private equity firm.
“Too long forgotten”: Amy Borsuk reviews the London transfer of Alice Childress’s play.
The pains of growing old: Amy Borsuk reviews Nancy Meckler’s production of King Lear.
Losing faith: Amy Borsuk reviews a production of Othello with religion as its core.
Cosy and humble: Amy Borsuk whets her appetite with Glyn Maxwell’s stage adaptation of Karen Blixen’s 1958 short story, but leaves wanting more.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.
A very familiar spacewalk: Amy Borsuk starts off our Vault Festival 2017 coverage with a review of Brave Badger’s intergalactic play.
Taking flying lessons: Amy Borsuk revisits a favourite childhood friend at the Southwark Playhouse.
A beautifully complex work of art: Amy Borsuk reviews the now-complete Shakespeare Trilogy.
The act of grief and coping: Amy Borsuk reviews Neil McPherson’s play about a young poet killed in World War I.
“Thou canst not touch the freedom of my mind.” Amy Borsuk reviews Lucy Bailey’s staging of John Milton’s Comus.
On a dull, dark and soundless day, Amy Borsuk finds herself in view of the melancholy House of Usher.