Butt Kapinski Review – ‘a masterclass in light-hearted entertainment and audience...

Charles Britton is both amazed and horrified by Deanna Fleysher's oddball creation

A Streetcar Named Desire Review – “a play that unpicks toxic...

The effects of modernisation upon Williams' play

Review: Brave New World

Cesca Echlin is unsettled by Four Seven Two's evocation of Huxley's World State

No Market For Old Men review – ‘an hour of fast-paced...

Krysianna Papadakis finds a lot of nuance in Oxford Revue's latest sketch show

The Writer review – ‘jumping out at you in wild, exciting,...

Hickson tries one formal experiment after another and each time brings a different gender-dynamic under her lens

Review – The House of Bernarda Alba

Ela Portnoy is impressed by this elegant adaptation of the Lorca masterpiece

OCTOPUS – Review

Is OCTOPUS, like the Sex Pistols are now, “just” uncontroversial protest? Or does it strike deeper than that?

Travesties review – ‘a very competent production of a fiendishly complicated...

Roddy Howland Jackson is charmed by a dynamic, absurdist comedy of historic proportions

How do we stage Shakespeare in the digital age?

Efforts to combine the theatrical and the digital are shaping how we experience Shakespeare in the twenty-first century

Clean Break – Theatre and the Criminal Justice System

Cesca Echlin talks to Clean Break, the theatre charity offering female offenders a means of expression

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A decade of unknown change is worth protesting more than a two day visit

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An exhibition that tells a personal story of heritage, politics, heartbreak and pain.

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