Nothing else on stage other than her pain: William Drew reviews Jean Cocteau’s end-of-a-realtionship monologue.
Ontroerend Goed artistic director Alexander Devriendt talks interactive theatre, gaming, and the death of capitalism.
He wants to be heard: William Drew responds to American poet and rapper Saul Williams’ appearance at The Last Word Festival.
Tiny gods for a moment… and the source of highly acidic shit: William Drew reviews lots and lots of pigeons.
This is sounding like a history lesson: Rob Icke’s Almeida production offers contemporary parallels galore.
Rage against the machine: Magali Rousseau is upstaged by her mechanical menagerie.
Nostalgic clichÃ©: William Drew reviews Petit thÃ©Ã¢tre de gestes as part of the London International Mime Festival 2018.
Disarmingly virtuosic: Seiriol Davies’ Edinburgh musical sensation transfers to London.
Your name is Ruby… William Drew goes on a binaural dinner date.
August Strindberg and Ingmar Bergman go to watch Ivo van Hove’s double bill at the Barbican.
Agree or disagree? William Drew reviews Rob Drummond’s new play that gives the audience the chance to vote.
Extraordinary risk, ordinary outcome: William Drew reviews the RSC’s bold collaboration with Imaginarium Studios.
The here and now: William Drew reviews the transfer of Robert Icke’s Hamlet to the Harold Pinter Theatre.
What do we have in common? William Drew reviews Sidi Larbi Cherkaoui’s work inspired by the words of Noam Chomsky.
Punchdrunk’s Greenhive Green is an ambitious intervention that creates an immersive world for care home residents. William Drew chats to its creators about the challenges and opportunities the project has revealed.