One last job: Lilith Wozniak reviews The Wardrobe Ensemble’s Christmas show mixing English folklore and heist movie.
Needlework and laser blasters: Lilith Wozniak reviews the Wardrobe Theatre’s latest pop-culture mashup Christmas show.
‘Ebbs and flows’: Lilith Wozniak writes on Heather Agyepong’s meditation on trauma and the body.
Unpredictable weather: Lilith Wozniak reviews a tonally turbulent production from Wise Children starring Lucy McCormick.
Ghosts from the future: Lilith Wozniak reviews Strike A Light’s show created with youth climate activists from Gloucester.
Neighbourhood watch: Lilith Wozniak reviews Access All Area’s app-based promenade performance revealing ableism in the policing of public behaviour.
You are what you eat: Lilith Wozniak reviews The Wardrobe Ensemble’s free-wheeling whistle stop tour of the evolution of capitalism.
Slapstick metatheatre: Lilith Wozniak reviews Told By an Idiot’s comic tribute to Charlie Chaplin and Stan Laurel.
Pastoral disillusionment: Lilith Wozniak reviews Malaika Kegode’s gig-theatre memoir of young friendship in rural Devon.
‘Somebody else’s gravity’: Lilith Wozniak writes on Raquel Meseguer Zafe’s audio piece exploring invisible illness and resting in public.
Modernist montage: Lilith Wozniak reviews a fragmentary feature film pieced together from 100 artist commissions by Impermanence Dance.
Writing history: Lilith Wozniak writes on the role of storytelling in Giles Terera’s radio play about the 1781 Zong slaveship massacre and the fight for abolition.
The roaring 2020s: Lilith Wozniak reviews The Wardrobe Ensemble’s inventive filmed adaptation of the F. Scott Fitzgerald classic.
Object lesson: Lilith Wozniak writes on the Edinburgh-based puppetry and visual theatre festival’s experiments in digital physicality.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.