Two can play that game: Holly Williams teams up with her brother Lyall to review Riptide’s ambitious week-long code-cracking adventure.
Holly Williams loops back to Simon McBurney’s time-bending binaural adventure, and asks him what it can say to lockdown audiences.
Holly Williams encounters the “stories of a fledgling nation” at an intensely political festival of theatre from across Kosovo.
Emerging directors leap through ever-shifting hoops for a chance to work at the UK’s biggest theatres. Holly Williams asks: is the system working?
Woolf remains uncracked: Holly Williams on a pair of monologues exploring two very different historical women’s lives.
“So this is what happens when the manic pixie dream girl grows up”: Holly Williams on the cliché-ridden romance of Simon Stephens’ new play.
It’s just one interpretation: Holly Williams on Imogen Knight’s “sensuously rich” production of Simon Stephens’ new play.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
An exercise in style: Holly Williams reviews Robert Icke’s take on the thriller noir.
Nineties naffness: Holly Williams reviews the first revival of Mark Ravenhill’s play in 20 years.
Back to front, front to back: Holly Williams reviews Rob Sutherland’s palindromic play.
What do you most want to see on stage? Holly Williams reviews Chris Goode & Company at Transform ’16
The soothing effect of a song.