Theatre

Caught Between Grief and Hope: ‘On Some Far Shore’ Reviewed

Fresh off the back of Our House and Macbeth, Cross Key Productions presents an original three-hander focused on the complexities of grief and young love. Produced by Madi Boutcha...

Culture Melissa Eddon -

The road to reckoning: ‘The Slip’ reviewed

Sharp, unsettling, and emotionally intelligent, 'The Slip' is a striking showcase of the ambition and talent behind Wide Eyes Productions, while establishing Wyatt as a writer-director to watch.

Culture Leo Jones -

‘Scenes With Girls’ and complicated female friendships

'Scenes with Girls' deserves to be seen as one of Labyrinth Productions’ (Rosie Morgan-Males and Emily Cullinan) most impressive accolades.

Culture Charlie Bailey -

‘The Moro Affair’: Astonishingly original, but not quite a story

The acting in 'The Moro Affair' was superb across the board, with Harriet Wilson’s Pope as a standout, and Rosie Sutton’s direction was flawless.

Culture Ian Coates -

Latest

Interview: ‘Macbeth’ at the Pilch, an ensemble of tragedies

"Shakespeare gives us so much space to sort of deal with psychological problems, which aren't always necessarily textual, but really come through in rehearsals and give the performance a higher level of connection with the audience."

“Bursts of love, hate, and everything in between”: A Review of ‘Love and Money’

"Everything was brilliantly executed, but this play is hard to watch, not only because of its subject-matter but also because of the way it unfolds."

Review: This House

"The audience was delivered an impeccable and immersive experience which left a lasting impression."

‘This House’: An Interview with the Cast and Crew

"As a play which I suppose relishes the grubby reality of politics instead of just putting politicians in the pillory for their inconsistencies and failures, it’s one that really appreciates it."

Backstage interview: the creatives behind Bare

"So few shows put a queer love story in the spotlight, it’s really relatable and it’s so empowering to see it take centre stage."

Deuteronomy Review: Breath-taking, Heart-stopping, Terrifying

"I will be back tomorrow, and the day after; because if I never see Deuteronomy again it will be the tragedy of my life."

Review: Thamesis

"Jones’ performance was a joy to watch, and under Aspden’s expert direction they have a highly successful show on their hands."

Review: Play House and Definitely the Bahamas

"The problem of changing from one play to the other, without an interval or blackout, was one Lawrence dealt with very competently"

‘Thamesis’ Interview: “The most refreshing thing you’ll see in Oxford drama.”

"I've never seen or heard anything like it."

A list of brilliant things about ‘Every Brilliant Thing’

"This performance... is likely to have made a lasting impression on every single person who has watched it."

Review: Entertaining Mr Sloane

"Brook’s production moved between playing the world for laughs and playing it real enough that the audience was left with lingering unease."

Review: Black Blood

"The most interesting elements of the play are the characters themselves, and their relationships outside the murder plot."

Review: I Will Delete This Story

"I found that I Will Delete This Story left me wishing that the titular promise had already been fulfilled."

“A fantastic story of love and liberation”: An interview with the cast and director of ‘An American In Paris’

"It’s been a process of figuring out how we can tease out those themes of love and liberation."

The Story Behind Noah Wild’s ‘I Will Delete This Story’

“Growing up when the past won't let you go”

Dead Man’s Suitcase: A Review

"At once funny and profound, Dead Man’s Suitcase is a treat for the senses."

Othello: A New Era of Shakespeare

"This production has chosen to take a step away from this preoccupation with setting and allow the play to speak for itself."

“Who am I, and who do I love?”: Neil Bartlett’s adaption of Orlando

Ursula White reviews Neil Bartlett's adaption of Orlando at the Garrick Theatre starring Emma Corrin as Orlando.

Confessions of a Theatre Kid: Debunking The Myth

"This problematic and relentless framing of the theatre kid as marginalised or an 'underdog'... misses the fact that the arts are propped up by privilege."

“A thrilling look into disjunctive relationships”: Fêtid Review

"Morgan’s multi-faceted script offers a combination of dark comedy and depth which keeps the audience consistently intrigued."

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Theatre

Caught Between Grief and Hope: ‘On Some Far Shore’ Reviewed

The road to reckoning: ‘The Slip’ reviewed

‘Scenes With Girls’ and complicated female friendships

‘The Moro Affair’: Astonishingly original, but not quite a story

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