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.
A rich tapestry: Lilith Wozniak reviews Nick Makoha’s autobiographical play about stories of exile and displacement.
‘Its polemic is potent’: James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.
A canny comedy crime caper: Ben Kulvichit reviews New Old Friend’s latest addition to their popular touring murder mystery series.
Starting a conversation: Eve Allin reviews a new collaboration between Andy Smith (UK) and Amund SjÃ¸lie Sveen (Norway)
Panto pedagogy: Hester Chillingworth’s pantomime ditches dodgy gags and tired tropes for a transpositive alternative.
Season’s greetings: Tracey Sinclair reviews a warm-hearted quartet of short plays from emerging writers.
Raising the roof: John Murphy reviews Sheffield Crucible’s slick and spectacular production of the Cole Porter classic.
Hanging up his wig: Louise Jones writes on the 40th and final panto helmed by legendary York dame Berwick Kaler.
“I hope it’s stupid”: James Varney on the skill of being an idiot in a Dutch company’s tribute to the great entertainers.
Someone else’s shoes: Lilith Wozniak writes on the mechanics of empathy in an immersive audio experience in Bristol shopping quarter.
The little things: Lilith Wozniak writes on the detail and scale of The Borrowers.
‘Shimmer and sparkle’: Catherine Love reviews an unlikely Christmas show which delights as much as it unsettles.
Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.