Theatre

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 is about to marry. Like...

Theatre Henry Luo -

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

All the guests arrived and promptly took their seats, as one of the directors...

Theatre Cienna Jennings -

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

While the genre of historical musical theatre centred around US politicians may be dominated...

Music Milo Man -

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

Student theatre has always thrived on experimentation, collaboration, and the courage to speak up....

Theatre Mercedes Haas -

Latest

Review: The Pillowman

Martin McDonagh’s jet black comedy is brought to life (and sentenced to a gruesome death) by Tom Fisher and his stellar cast. I coughed, continuously,...

The Place of Regional Theatre

The power of identity is arguably greater today than ever before. The stale, collective “British” identity is slowly being pervaded by the vibrant diversity...

Review: Merrily We Roll Along at the Oxford Playhouse

Merrily We Roll Along begins with a bang – the peak of Franklin Shepard’s career as a Hollywood producer while he relaxes (and then enters...

Review: Nutcracker

As a child, ballet lessons made me wince in pain, but two-and-a-half hours of The English National Ballet’s The Nutcracker passed in the blink...

The Death of Theatre Monarchy

It’s January 2020 and a new controversy has arrived to add to the Britain’s collection. Popular discussion of the Duke and Duchess of Sussex’s exit from...

Review: Don Giovanni

Premiered in 1787 in Prague and in the Habsburg court in Vienna, Mozart’s Don Giovanni offered a biting social comedy. Breathing new life into...

Pantomime: does it still deserve a place on the modern theatrical scene? (Oh, yes it does!)

Emily Capon argues that pantomime (when done well) still has an important place in the modern theatre.

Review: Macbeth

Leone Van den Schrieck reviews Collarbone Productions' 'Macbeth' at the BT.

Review: American Buffalo

Frazer Martin reviews 'American Buffalo' at the Pilch.

Review: Malcolm The Miserable

Ottilie Mitchell reviews new play Malcolm The Miserable at the BT studio.

Review: Oxford Contemporary Opera Festival

Clementine Scott is impressed by the Oxford Contemporary Opera Festival at Saint Hilda's.

Review: The Importance of Being Earnest

Yii-Jen Deng reviews 'The Importance of Being Earnest' at Teddy Hall.

Review: Chicago

Cecelia Wang reviews Jazz Hands Productions 'Chicago' at the Keble O'Reilly.

A theatrical Utopia?

Emily Capon explores explores the possibility of a Utopia of ‘no-where’ on the stage.

Remember, Remember Your Duty to Remember

Coral Kim explores the impact of 'Translations' and 'The Height of the Storm' on both her and society.

Review: The Mine Hatch

Tatiana Gilfillan is moved and impressed by new play 'The Mine Hatch'.

Preview: Martlets

New play commemorating forty years of women being admitted to Worcester College is full of joy, wit and sharp writing.

Review: Beard

McNelis' new musical is gripping and raises the important issue of homophobia in sport.

Review: The Crucible

Francesca German feels the power of Arthur Miller's classic 'The Crucible' at the Pilch.

Review: The Lovely Bones

This adaptation of Alice Sebold's classic novel strikes an emotional chord at Oxford Playhouse.

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Theatre

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

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

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

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

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