A queasy confection: Hailey Bachrach on the uneasy laughs of a Wodehouse-inspired comedy.
The Pippin Problem: this fresh revival of Stephen Schwartz’s musical is too tentative.
Reset and start again: Hailey Bachrach reviews the premiere of Stephanie Jacob’s family comedy
A case study in miscalculation: Henry Darke’s new play forgets to check its privilege.
A reminder that we’re all just people: Hailey Bachrach reviews the West End transfer of David Eldridge’s will-they-won’t-they drama.
“It’s a show you can’t take notes about, don’t really want to be a critic about, don’t really want to be an adult about.”
Unexpectedly dark and messy: Hailey Bachrach reviews Sam Potter’s new play about motherhood.
What should one expect of a play subtitled ‘a queer epic’? Hailey Bachrach reviews Hal Coase’s interweaving of four historical love stories.
That damned love triangle: Hailey Bachrach reviews the premiere of a revised version of Andrew Lloyd Webber’s The Woman in White.
Slyly lefty and warmly inclusive: Exeunt’s American writer Hailey Bachrach gets to grips with her first pantomime.
Hailey Bachrach reviews Lot Vekemans’ naturalistic story of a couple hollowed out by grief.
The miracle of unburdening yourself: Hailey Bachrach reviews Angela Clerkin’s “gothic fairytale”.
“Nailed it”: Hayley Bachrach overcomes her fear of the form at Pop-Up Opera’s accessible production of Englebert Humperdinck’s Hansel and Gretel.
Hailey Bachrach discovers a corner of forgotten Indian history in The Queen.
The Mobile Unit of NYC upholds the belief that Shakespeare belongs to everyone.