Liars, cheats and scoundrels: John Murphy on escaping into the familiar world of the classic New York musical.
‘Gasps and coos’: John Murphy writes on the careful craft and gentleness of a Grimm’s Tale for young children.
Brutalist brilliance: Francesca Peschier reviews Chris Bush and Richard Hawley’s sweeping musical ode to Sheffield’s Park Hill housing estate.
…sorry, where were we? John Murphy reviews Third Angel’s detective story about distraction and misdirection.
Raising the roof: John Murphy reviews Sheffield Crucible’s slick and spectacular production of the Cole Porter classic.
“Be a mother to another”: John Murphy writes on Akeim Toussaint Buck’s engaging and accessible solo dance piece on the diasporic experience.
Pertinent and unsettling: John Murphy reviews a stage adaptation of Ken Kesey’s novel.
We’re not in Sheffield anymore: Robert Hastie’s first Christmas musical in Sheffield whisks audiences off to Oz.
“It’s impossible not to be drawn into the atmosphere”: John Murphy reviews Sam Yates’ revival of Eugene O’Neill’s classic tragedy at Sheffield’s Crucible Theatre.
Communication breakdown: John Murphy reviews Sheffield Crucible’s revival of Nina Raine’s Olivier-nominated 2010 play.
The best sort of Shakespeare production: Robert Hastie’s debut production as artistic director of Sheffield Theatres gives off all the right signals, says an excited John Murphy.
Sumptuous and suitably gothic: John Murphy reviews Selma Dimitrijevic’s adaptation of Mary Shelley.
With a swagger as irresistible as its titular hero: John Murphy reviews the new musical inspired by the television programme Drag Queen At 16.
A powerful study of class politics that remains as relevant as ever: John Murphy reviews Day One Theatre’s production of Patrick Marber’s reimagining of Strindberg.
Choose your own adventure: John Murphy reviews the Sheffield version of the Guide of Misrule’s immersive Great Gatsby.