Serie A in the senate house: Rosemary Waugh reviews a production of Julius Caesar featuring final year students from the Bristol Old Vic Theatre School.
Of pebbles which the waves draw back: Rosemary Waugh reviews Nic McQuillan’s new one-man show about love and loss.
A warning against consumerism: Naia Headland-Vanni reviews 1927’s Golem, on tour in Bristol.
It’s a wrap: Rosemary Waugh reviews one of the last ever performances of Ontroerend Goed’s superb Sirens.
Being wooed: Rosemary Waugh reviews Ravi Jain’s show about arranged marriage and families.
Theatre Theresa May should be watching: Rosemary Waugh reviews Firebird Theatre’s new work about their company and how it got its name.
“A superbly executed concept by a blisteringly talented group”: Lucian Waugh reviews a modern update of Medea that shares much in common with opera.
A portrait of an artist: Rosemary Waugh reviews Concert Theatre’s take on Anne Brontë’s novel.
Friends until the end of time: Rosemary Waugh reviews Alice Nicholas’s new play about transgender teenagers.
Weirder than Westminster: Rosemary Waugh reviews Shakespeare at the Tobacco Factory’s modern Molière.
Making Steph Houghton proud: Naia Headland-Vanni reviews Sabrina Mahfouz and Hollie McNish’s play about female footballers.
Red shoes and red chairs: Kate Wyver responds to Matthew Bourne’s obsessive and passionate ballet.
Escaped Alone x 4: Rosemary Waugh provides yet another review of Escaped Alone.
Intense claustrophobia: Elena Angelides reviews Simon Stephens’ adaptation of A Doll’s House.
Penmanship: Rosemary Waugh reviews Stephanie Riding’s work about writing to male prisoners on death row.