Theatre

‘Everything is constantly emotion’: An interview with the cast and crew of ‘Doctor Faustus’

Seabass Theatre has carved out a niche for itself producing original takes on canonical texts, most memorably last year’s plant-inspired Hamlet staged at the former Music Faculty. When discussing...

Culture Lara Machado -

Between performance and reality: ‘To What End?’ reviewed

To What End is a new meta-theatrical, absurdist play written by Billy Skiggs and...

Culture Beth Riding -

An affectionate, homely play with hidden ambition: ‘Under Milk Wood’ reviewed

The lights dimmed, a small plaque was illuminating the stage with the red letters,...

Culture Mair Andrews -

‘An evening of refined fun’: ‘An Ideal Husband’ reviewed

An Ideal Husband is a guaranteed evening of refined fun. Carfax Productions’ take on...

Culture Lara Machado -

Latest

‘Timestamp’ at the Fringe: Existing in the ‘now’

★★★★☆ Timestamp is a part-theremin, part-dance exploration of womanhood, expectation, and time. Brought to the Edinburgh Fringe after a successful run in New York City...

‘HOLE IN THE WALL L’HOPITAL’ at Fringe

★★★☆☆ Everything I write ends up being about grief – I suppose this review only proves that point. HOLE IN THE WALL L’HOPITAL, created by...

Review: Wolf Hall: The Mirror and the Light – “A new sensation”

There is a new sensation at Christ Church Drama Society, and it is called Wolf Hall. Adapted from the novel trilogy by Hilary Mantel,...

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...

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

A trembling bride. A distrustful mother. Two murderous rivals vying for a single, wavering hand. A wedding vow broken, unleashing all the violence of...

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

There is a lot to like about Natascha Norton’s Crocodile Tears. Female lead Elektra Voulgari Cleare is both electric and effortlessly elegant, and male...

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

ART is charming. Centred around long-time friends Yvan (Ronav Jain), Marcus (Rufus Shutter) and Serge (Jem Hunter), the play not only raises pertinent questions...

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?"

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Theatre

‘Everything is constantly emotion’: An interview with the cast and crew of ‘Doctor Faustus’

Between performance and reality: ‘To What End?’ reviewed

An affectionate, homely play with hidden ambition: ‘Under Milk Wood’ reviewed

‘An evening of refined fun’: ‘An Ideal Husband’ reviewed

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