Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
Eyes and ears: Catherine Love writes on attention and public space in response to Common Ground Theatre and Hannah Bruce’s audio collage.
Shaft of light: Louise Jones writes on the ‘futile, gripping’ intensity of Athol Fugard’s seldom-produced two-hander.
Unholy matrimony: Louise Jones reviews Gracefool Collective’s unruly deconstruction of wedding traditions.
A matter of life and death: Louise Jones writes on the emotional mechanics of Theatre Re’s lyrical piece of physical theatre.
Stitching stories: Catherine Love on Paula Varjack’s complicated love letter to fashion.
‘Life’s metaphorical bucket’: Louise Jones reviews Holly Gallagher’s solo storytelling show about the three Millennials under stress.
Ringing hollow: Louise Jones writes on the subtleties lost in adaptation in Out of Joint and Royal and Derngate’s co-production of Kazuo Ishiguro’s novel.
Singing her song: Louise Jones reviews Emma Geraghty’s solo show exploring fatness and queerness through music.
Hanging up his wig: Louise Jones writes on the 40th and final panto helmed by legendary York dame Berwick Kaler.
A broad brush: Louise Jones finds this adaptation of Jane Austen’s novel yields uneven results.
‘Joy in solidarity’: Louise Jones writes on Phoenix Dance Theatre’s celebration of the human stories of the Windrush generation.
Louise Jones submits her examination paper for Jonathan Lewis’ play. (And promises she didn’t cheat.)
Chrysalis-like: Louise Jones reviews Natasha Marshall’s semi-autobiographical solo show
Like stumbling over poetry written as a lovelorn teen: Louise Jones reviews Metta Theatre’s adaptation of the underwater fairytale