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.
Menace à trois: Lilith Wozniak reviews a revival of Pinter’s reverse-chronological adultery drama
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.
Spinning yarns: Lilith Wozniak writes on a carnival-inspired tale of a swindler out to win a cash prize, drawing from Afro-Caribbean folklore.
Bloody festive: Lilith Wozniak reviews a pop-culture mash-up Christmas show with flying vampires, strap-ons and Bon Jovi sing-a-longs.
A faltering take-off: Lilith Wozniak reviews a haltingly staged sci-fi promenade show from National Theatre of Wales and Hijinx Theatre.
Cartoon magic: Lilith Wozniak reviews Protein Dance’s ‘playful and joyous’ adaptation of the much-loved book.
Resistance and solidarity: Lilith Wonziak reviews Theatre Ad Infinitum’s latest show exploring the challenges and prejudice faced by the Deaf community.
‘Cautious kindness’: Lilith Wozniak on the gentle hope of Ed Thomas’s rural, Beckettian play.