Liars, cheats and scoundrels: John Murphy on escaping into the familiar world of the classic New York musical.
‘Gasps and coos’: John Murphy writes on the careful craft and gentleness of a Grimm’s Tale for young children.
A shadow over town: John Murphy reviews Charley Miles’ feminist-lensed play about the fear bred by the Yorkshire Ripper murders.
Odd occurrences: John Murphy reviews a surreal, funny adaptation of Finnish director Aki KaurismÃ¤ki’s 2002 film.
…sorry, where were we? John Murphy reviews Third Angel’s detective story about distraction and misdirection.
Raising the roof: John Murphy reviews Sheffield Crucible’s slick and spectacular production of the Cole Porter classic.
“Be a mother to another”: John Murphy writes on Akeim Toussaint Buck’s engaging and accessible solo dance piece on the diasporic experience.
Pertinent and unsettling: John Murphy reviews a stage adaptation of Ken Kesey’s novel.
We’re not in Sheffield anymore: Robert Hastie’s first Christmas musical in Sheffield whisks audiences off to Oz.
“It’s impossible not to be drawn into the atmosphere”: John Murphy reviews Sam Yates’ revival of Eugene O’Neill’s classic tragedy at Sheffield’s Crucible Theatre.
Communication breakdown: John Murphy reviews Sheffield Crucible’s revival of Nina Raine’s Olivier-nominated 2010 play.
The best sort of Shakespeare production: Robert Hastie’s debut production as artistic director of Sheffield Theatres gives off all the right signals, says an excited John Murphy.
Sumptuous and suitably gothic: John Murphy reviews Selma Dimitrijevic’s adaptation of Mary Shelley.
With a swagger as irresistible as its titular hero: John Murphy reviews the new musical inspired by the television programme Drag Queen At 16.
A powerful study of class politics that remains as relevant as ever: John Murphy reviews Day One Theatre’s production of Patrick Marber’s reimagining of Strindberg.