You are what you eat: Lilith Wozniak reviews The Wardrobe Ensemble’s free-wheeling whistle stop tour of the evolution of capitalism.
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.
Office romance: Harvey Bassett reviews Out of Chaos’s interactive telephone show masquerading as a market research questionnaire.
The roaring 2020s: Lilith Wozniak reviews The Wardrobe Ensemble’s inventive filmed adaptation of the F. Scott Fitzgerald classic.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.
I could do so much more: Ben Kulvichit reviews Chris Bush’s ambitious, time travelling reinterpretation of Doctor Faustus.
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.
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.
Resistance and solidarity: Lilith Wonziak reviews Theatre Ad Infinitum’s latest show exploring the challenges and prejudice faced by the Deaf community.