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

How To Save A Rock With A Circle Review – ‘centres a sense of community’

Taiwo Oyebola finds Pigfoot Theatre’s work-in-progress play about the environment funny and oddly optimistic

Collaborators Review – a comedy of Stalinist Russia

Despite its seeming irreverent nature, this play has 'moments of profundity'

How To Save A Rock With A Circle Preview – ‘conveys urgency with a sense of humour’

Cecilia Wang previews Pigfoot Theatre's work-in-progress which focuses on the impact of climate change.

Election Review – an ‘interesting and ambitious’ look at politics

Lowenna Ovens finds this student-centric election night depiction to be an 'intriguing concept'

Citizenship Review – ‘witty, thoughtful and true-to-life’

Ami Griffiths is impressed by a direct but deft portrayal of bisexuality.

Drunk Enough to Say I Love You? Review – ‘genre-crossing and well-executed’

Katie Knight is impressed by Klaxon Productions' production which incorporates new forms of media.

Top Girls Review – ‘uncomfortably straddles the experimental and the domestic’

"Adam Radford-Diaper’s adaptation is slick and well-acted, often wonderfully absurd and funny, but ultimately leaves me feeling slightly cold."

Drunk Enough to Say I Love You? Preview: ‘The political becomes personal’

Cesca Echlin previews Caryl Churchill's 2006 play, which she finds entices the human out of the political

The Mountaintop Review – ‘explores the man behind the pulpit’

Katori Hall’s depiction of the Civil Rights icon Martin Luther King in his last hours is bewitching.

‘A zero-carbon-footprint production’: an interview

Unusual theatrical spaces and creating environmentally conscious productions

Citizenship Preview – ‘challenges the binary of sexuality’

Mark Ravenhill's exploration of the nature of bisexuality in this coming-of-age drama is continually relevant

Nice Guy Review – ‘hard to believe written by students’

The complexity of Sam Norman and Aaron King’s new musical, which focuses on the inner-workings of an abusive relationship is astounding

Breaking down stigma, challenging genre, and facilitating conversation – the new musical, ‘Nice Guy’

A visit to the Oxfordshire charity 'Clean Slate' with the cast of new musical 'Nice Guy'

Top Girls Preview – ‘a vibrant period piece’

This new production of Caryl Churchill's play may be a portrait of a specific time, but is still intensely relevant.

‘Family Friends’ Review: ‘a definite sparkle’

Katie Knight sees potential in this night of improvised comedy, but is let down by pacing and clunky mistakes

The Threepenny Opera Review – ‘both unsettling and wildly entertaining’

Faye Heron reviews this term's Playhouse show which she finds serves to bring up important social issues whilst simultaneously being vigorously entertaining

The Oxford Revue: Best of the Fringe Review – ‘these are emerging talents’

The Oxford Revue's desires to experiment creates some hilarious moments, but perhaps lacks through-line to bring the show together

The Threepenny Opera Preview – ‘promises to be exhilarating’

This term's Playhouse show paints a heightened portrait of the inner-city's criminal underworld.

Interview: OUDS President Francesca Amewudah-Rivers

Cesca Echlin meets this year's OUDS President to discuss post-Medea hype, the need for increased representation in theatre, and what she wants to change about Oxford student drama.

‘The Fishermen’ Review – a ‘mesmerising’ and ‘almost biblical’ tale

A story of Nigerian brotherhood frames personal and national tragedy

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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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