The woods for the trees: James Varney writes on scale and perspective in James Monaghan’s solo piece, from his viewpoint as an embedded critic.
‘Its polemic is potent’: James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
“I hope it’s stupid”: James Varney on the skill of being an idiot in a Dutch company’s tribute to the great entertainers.
‘Shimmer and sparkle’: Catherine Love reviews an unlikely Christmas show which delights as much as it unsettles.
Skirting around sharp edges: James Varney reviews an all-male production of Jean Genet’s The Maids which doesn’t quite deliver on its promises.
‘A myth sceptical of myths’: James Varney writes on place and ownership in Chris Thorpe’s cycle of contemporary Mystery plays.
‘Dream space’: Catherine Love reviews Sarah Frankcom’s fresh, insightful take on the 20th Century American staple
Cooking up a storm: In-Sook Chappell’s adaptation of Helen Tse’s memoir is moving and original.
A love letter to Blitz London: Aniqah Choudhri reviews Matthew Bourne’s wartime fairy-tale.
No future: Catherine Love reviews Chris Goode’s furiously intelligent take on the punk movie classic.
Thornton Wilderâ€™s 1938 play is a “giddily expansive” exploration of community and the passing of time.
Catherine Love on a flimsy gig-theatre exploration of the Lancashire Cotton Famine.
A very British dissection of American popular culture: Catherine Love reviews a double bill of works at Flare Festival 2017.
A pairing of the whimsical and the sinister: Catherine Love reviews an eclectic double-bill at Manchester’s Flare Festival.
Not with a bang but with a party popper: Catherine Love reviews the world premiere of Nigel Barrett and Louise Mari’s immersive apocalypse show.