Folklore and fury: Tom Moyser writes on Frankie Meredith’s new play, set at a Coventry folk festival.
“Silence, sound and time”: Tom Mouser reviews Lolita Chakrabarti’s story of two men’s gradually converging lives.
A fragmentary picture: Tom Moyser writes on Sean Mahoney’s lyrical monologue.
A peppery start: Tom Moyser writes on an intriguing but unready set of plays by four emerging female writers.
Playing ball: Tom Moyser writes on the tense emotional back and forth of Sam Steiner’s superb new play.
Tom Moyser writes on an “exceptionally, disarmingly gentle” musical set on a tiny Scottish island.
Authenticity and artifice: Tom Moyser writes on YESYESNONO’s reenactment of a plane crash.
Intimacy and honesty: Tom Moyser writes on LUNG’s investigation into the lives of young carers.
“exposure, noun”: Tom Moyser considers the embarrassing, painful revelations in Richard Gadd’s solo show.
“Birdwatching is cool”: Tom Moyser writes on the wild world of a musical fable about saving parakeets.
“I think I’m going to be OK actually,”: Tom Moyser review Shit-faced Shakespeare’s first attempt at tragedy.
His speech hits and hits and hits its mark: Tom Moyser reviews Sean Mahoney’s spoken word performance.
Tom Moyser’s review of the alt-comedian’s literary extravaganza takes the form of a dialogue with Roland Barthes.
‘Grotesquely, anarchically funny’: Tom Moyser reviews a hilarious 17th-century rip-off of Shakespeare’s well-known play.
A slippery allegory: this show is an unblinking vision of an alternate future.