An honest account of heritage and prejudice: Daniel Perks reviews Joe Sellman-Leava’s one-man show at Vault festival 2017.
Eye opening: Daniel Perks reviews Oli Forsyth’s empathetic look at homelessness at this year’s Vault festival.
A tribute to an unsung hero: Daniel Perks reviews Viki Browne’s work in progress show about her own grandmother.
Feminist porn and a different type of fairy tale: Daniel Perks reviews a work in progress by Naomi Westerman at the Vault festival.
The ugly side of fashion: Daniel Perks reviews Tom Brennan’s look at society’s obsession with reality television.
Daniel Perks reviews Martin Brett’s new work about “the self-proclaimed best travel agent in the business.”
Becoming an activist: B. L. Sherrington reviews a new play based on the true story of the first British-Asian Suffragette.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
A mixed bag, but a thoroughly engaging watch: Mary Halton reviews Tristan Bernays’ updating of biblical tales at the Vault festival.
A wide-eyed discovery of the world: Corrie Tan reviews Superbolt Theatre’s new play about a group of martians.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.
Reads like a revisitation of the Choose Life monologue: Amelia Forsbrook reviews Brad Birch and Kenneth Emson’s “cracking collaborative mastery”.
A spirit and optimism that goes against its drab, desperate, wipe-clean-vinyl-coated setting: Amelia Forsbrook reviews Interval Production’s show about two friends in a women’s hostel.
We are all aliens: Corrie Tan reviews Tim Foley’s “science fiction on a shoestring” play.
It’s not enjoyable theatre… but it is important theatre: Fergus Morgan reviews Crew For Calais’ double-bill at Vault festival.