Big wigs: Kensington Palace’s new immersive show about two powerful queens doesn’t win over historical reenactments fan Hailey Bachrach.
Hailey Bachrach spots a trend: female characters breaking the fourth wall to rail against their limited options.
Hailey Bachrach gets swept up in the Biblical storytelling and daffy design choices of an epic new West End musical.
Casting a shadow: Hailey Bachrach writes on the moving darkness of Tom Stoppard’s study of Jewish identity.
Hacked off: Hailey Bachrach reviews Al Blyth’s ‘briskly-plotted political drama’ about online surveillance.
An incoherent world: Hailey Bachrach writes on an episodic staging of Elena Ferrante’s wildly successful bestsellers.
“Did anyone spend a single second thinking about this show?!” – Hailey Bachrach writes on a baffling stage outing for the ’80s bodyswap movie.
A dampened fire: Hailey Bachrach writes on Trevor Nunn’s unduly coy staging of a fiercely romantic musical.
Divine designs: Hailey Bachrach writes on the visual splendour and religious themes of a slick take on Webber and Rice’s hit musical.
In his corner: Hailey Bachrach reviews Darren Raymond’s adaptation of Othello, which does not do enough to confront the problems of Shakespeare’s original.
Jagged and off-kilter: Hailey Bachrach writes on a flawed revival of a lyrical musical.
Polar opposites: Hailey Bachrach writes on Tatty Hennessy’s narrative of arctic exploration, and the weight of female role models.
Hope and pain: Hailey Bachrach writes on a hit musical following the fates of the ‘plane people’ who landed in Newfoundland, post 9/11.
‘Believing deep down that things are, should be, can be fair’: Hailey Bachrach reviews Cressida Brown’s production of a new take on the high-flying myth.
Buried problems: Ishy Din’s new play finds ideological conflicts in a Middlesbrough minicab office.