Theatre

Review: CRUSH – ‘A classic coming-of-age’

Rumours of drastic script revisions and casting changes meant that I entered The North Wall (a former swimming pool, so I’ve been told), with a degree of apprehension. But...

Theatre Beatrix Arnold -

Review: Blood Wedding – ‘A lunar eclipse on the stage’

A trembling bride. A distrustful mother. Two murderous rivals vying for a single, wavering...

Theatre Sanaya Narula -

Review: Crocodile Tears – ‘Techno-futuristic, but why?’

There is a lot to like about Natascha Norton’s Crocodile Tears. Female lead Elektra...

Theatre Peter Chen -

Review: ART – ‘Charm, jazz, and friendship at its wittiest’

ART is charming. Centred around long-time friends Yvan (Ronav Jain), Marcus (Rufus Shutter) and...

Theatre Lara Machado -

Latest

Review: All My Sons – ‘At the end of the American Dream’

Joe Keller, played by Tristan Hood, represents the American dream. He is a wealthy businessman with a traditional family with a surviving son that...

Review: The Tempest – ‘Power looks good on her’

All the guests arrived and promptly took their seats, as one of the directors (Seb Carrington) announced the play would begin in 5 minutes....

Review: Bush! The Musical – ‘Is our actors singing?’

While the genre of historical musical theatre centred around US politicians may be dominated by Hamilton, Bush! The Musical has earned a place in...

Review: So Far, So Good – ‘Counting down the fall’

Student theatre has always thrived on experimentation, collaboration, and the courage to speak up. So Far, So Good, a new piece of original writing...

The writer behind ‘The Writer’

Tucked away in a room at Worcester College, I sat in on a rehearsal of Ella Hickson’s The Writer (2018), which Fennec Fox Productions...

‘Love in the face of hate’: A closer look at ‘Blood Wedding’

Emma Nihill Alcorta is the director of a new adaptation of the Spanish masterpiece Blood Wedding, running at the Oxford Playhouse. With flamenco rhythms and...

Duplicity, infidelity and loyalty in ‘Crocodile Tears’

“An Italian summer romance that goes wrong” – this is how Crocodile Tears was first pitched to me by its writer, Natascha Norton, when...

Review: The Great Gatsby – ‘Indulge the extravaganza’

Sophia Eiden’s production of Simon Levy’s script of The Great Gatsby is an undoubted triumph. I was, if only for a moment, transported back...

Review: Troilus and Cressida – ‘A missed opportunity to appeal to the brain rot generation’

Having heard on the grapevine (and even receiving word from the producer himself) about Troilus and Cressida falling victim to a last-minute casting upheaval,...

CRUSH preview: ‘A chaotic scramble through the teenage years’

I sat down with Hannah Eggleton, Director & Writer of CRUSH, to talk power, performance, and the making of her debut full-length play, premiering...

Telling stories about telling stories: Previewing ‘The Antipodes’

In a windowless room in an abstract part of Oriel, I sat in on a rehearsal for Annie Baker’s The Antipodes (2018), on at...

Review: Suddenly Last Summer – ‘Cannibalism, love, and lobotomies’

This week at the Burton Taylor Studio, a new rendition of Tennessee Williams’ Suddenly Last Summer is a feast for the eyes and the...

Recorded theatre: The oxymoron of the prerecorded-live production

"Are we witnessing the downfall of the priority of ‘LIVE’ theatre?"

Playing with history: How does theatre shape our past?

"There is nothing more fascinating than a good historical drama; something about a true story that packs that extra punch."

Review: Closer – ‘Where Marber fails’

Labyrinth Production’s staging of Patrick Marber’s 1997 play, Closer, was an ambitious move for a student-run production company. Ambitious as it was, the cast...

Review: JACK – ‘Gas-lit showstoppers, intrigue, and murder’

Jack The Ripper is arguably the most famous killer of the Victorian era. There is a fanatical fascination with his case. He is a...

Review: Death of a Salesman – ‘The Inside of His Head’

To review Tiptoe Productions’ staging of Death of a Salesman, I must first contextualise my biases as a reviewer. By no means do I...

Oxford’s summer scene: The season of open-air performances

Trinity term at Oxford University is defined by wisteria, wild swimming, and warmth. Students find themselves torn between revelling in weather that is finally...

Review: An Anthology of Pairs – ‘Two’s a Party’

There’s a particular theatrical magic that comes from two people simply talking in a room. No stage tricks, no elaborate plot devices – just...

‘So Far, So Good’ and redefining the spotlight

So Far, So Good is a student-written, student-performed play that is shaking up the conventions of Oxford’s student theatre. From its ambitious staging (think...

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Theatre

Review: CRUSH – ‘A classic coming-of-age’

Review: Blood Wedding – ‘A lunar eclipse on the stage’

Review: Crocodile Tears – ‘Techno-futuristic, but why?’

Review: ART – ‘Charm, jazz, and friendship at its wittiest’

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