“I’m feeling quite exhausted”: Lily Levinson encounters a dance festival that looks at the challenges of expressing care in a contact-starved era.
Something to count on: Lily Levinson writes on Chris Bush’s collection of stories for and about dark times.
“I seancéd my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.
Hockey, tea-towels and God: Lily Levinson reviews a ‘careful and delicate production’ of Margaret Perry’s radio play about a burgeoning teenage romance.
Lily Levinson speaks to the artists, activists and participants working together to reimagine how BAC engages with its local community.
Broken nights: Lily Levinson writes on Ava Wong Davies and Mandala Theatre’s ‘unsettling and theatrically imaginative’ digital play, exploring sleep disturbance.
Internal voices: Lily Levinson encounters Rafaella Marcus’s intimate audio play, performed by Katherine Parkinson.
Rain, sun, cloud: Lily Levinson reviews a letter-based performance that revisits the blurry days of lockdown.
Thrusting hope in our faces: Lily Levinson writes on watching Pecs Drag Kings’ Christmas show on election night.
A medicine cabinet of wonders: Lily Levinson writes on the themes of sickness and disease that fill Rebecca Frecknall’s take on Webster’s tragedy.
Housed in a former mirror factory, The Big House works with at-risk young people to make theatre that reflects their experiences. Lily Levinson talks to the participants in their new performance, 1st Luv.
‘Shakespearean civil war as Tarantino-esque entertainment’: Lily Levinson writes on Sean Holmes and Ilinca Radulian’s action-packed double-bill of history plays.
‘a steady throb like the sound of your heart beat in the bath’: Lily Levinson writes on Ava Wong Davies’ lyrical exploration of a relationship between a daughter and her estranged mother.
‘It looks like mending, in a way’: Lily Levinson writes on Abigail Boucher and Carolyn Defrin’s dance theatre performance exploring intimacy and activism.
Pass it on: Lily Levinson writes on Natalie Mitchell’s kind-hearted play about OCD and teen relationships.