Somewhere across the icy waters: Catherine Love reviews Liz Nunnery’s WWII play with songs.
An uncertain piece of theatre in uncertain times: Catherine Love reviews Powder Keg’s performance as part of PUSH festival 2017.
We don’t just see the ethical conundrums faced by factory owners; we experience them: Catherine Love reviews World Factory.
Taking back control: Catherine Love reviews Two Destination Language’s show about modern masculinity.
The loving mixture of homage and piss-take: Catherine Love reviews Kill The Beast at The Lowry.
Catherine Love reviews Maxine Peake’s “compelling and impressively fresh” performance as Blanche DuBois.
“You gradually learn not to trust a single thing you see”: Andrew Haydon reviews Peeping Tom at HOME.
The oldest hath borne most: James Varney reviews Michael Buffong’s production of Shakespeare.
“Monopolising on misery… without any commentary or attempt at solution or alternative.” James Varney reviews Breach’s The Beanfield.
Pseudo-defensively connive an impenetrable form to write your review in…
This play is a gallery exhibition of femininity, striving in the face of that hugely broken thing – masculinity – to which even today we seem to have no cure.
James Varney reviews “a magpie approach to queering the Bible.”
Trauma and love hold together Jack Thorne’s The Solid Life of Sugar Water.
“There’s some untouchable strength in the experience of this show, like a bottle of rage.” James Varney reviews Jamal Gerald’s show in Manchester.
Yusra Warsama excels in a show that is “dragging up chains of trauma, soaked in violent pasts and present.”