The isolation of the young and the lost: Gillian Greer reviews the 20th anniversary production of Enda Walsh’s first play.
Sharp, zeitgeist-y, and sometimes moving: Gillian Greer reviews the problematic European premiere of Taylor Mac’s New York smash-hit Hir.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
A tapestry of unrelenting sound: Gillian Greer reviews Nigel and Louise’s tribute to Margate.
And we all get badges! Gillian Greer reviews Idiot Child’s lecture/workshop/boot camp designed to relieve us of our innermost fears.
Where we go when we fall and can’t get back up again: Gillian Greer reviews Inspector Sands’ show about the ageing process.
“The first pretend Tory I’ve ever almost-liked.” Gillian Greer reviews Stephen Brown’s new play about MP Rory Stewart.
Gillian Greer interviews the writer of ‘This Beautiful Future’ at The Yard about love, war, and karaoke.
Demands to be heard: Gillian Greer, sustained only by artisanal fudge, sees nine plays in one day as part of Cardboard Citizens’ incomplete history of housing.
The past is a strange country: Gillian Greer admires the gentle craftsmanship of Barney Norris’ new two-hander, the inaugural production in the Bush’s new studio space.
The unsettling feeling of studying the alchemy of love: Gillian Greer reviews debbie tucker green’s new play at the Royal Court.
The magic in myth-making: Gillian Greer reviews a new play about growing old together.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
Through the veins of a broken old house in Brighton: Gillian Greer reviews Jolie Booth’s new show at the Vault Festival 2017.
Takes on an honesty all of its own: Gillian Greer reviews James Rowland’s “twinkle-eyed telling of an untrue love story”.