Theatre

On the edge of honesty: ‘The Man Who Turned into a Stick’

To rehearse and perform an entire student production before the second week of Michaelmas term is no easy feat - and The Man Who Turned into a Stick struggled...

Culture Mair Andrews -

Erotic suspense and trickery: ‘Twelfth Night’ at St Hugh’s

Lovers mismatched, siblings detached, and plans of trickery hatched: it is the time of...

Culture Mary Stillman -

Sin and nectar: Behind the scenes of ‘Women Beware Women’

I arrived at a rehearsal of Women Beware Women and found Hippolito (Kit Parsons)...

Culture Tomas Overton -

Well-managed complexity: ‘In Praise of Love’

In Praise of Love by Terence Rattigan was a play well-chosen in today’s political...

Culture Charlie Bailey -

Latest

“The play-text should never have been selected for performance”

Will Austin finds 'Five Women Wearing the Same Dress' to be outdated and hackneyed at the Michael Pilch Studio

“A tense and deeply disturbing piece”

Emily Lawford is left shaken by 'Orca', an award-winning drama about sacrifice and redemption

“Fun, thoroughly amusing and worth watching”

Freya Thorpe praises Ambriel Productions’ musical ensemble

A day in the life of… a lighting director

I came to Oxford with very little backstage experience. It’s really easy to get into the scene—TAFF (the University network of backstage crew) is...

“If you’d told me a year ago I would never have believed it”

Katie Sayer chats to Callum Cameron, the writer and star of They Built It, No One Came – coming to Oxford following a successful run at the Edinburgh Fringe and a sell-out week in London

An odd mix of Sophocles, Stoppard and Wilde

Katie Sayer gives four stars to Simon Callow's revival of a 1970s classic

A day in the life of… an assistant director

Rebekah King describes her role assistant directing Brontë, Polly Teale’s successful 2005 period drama

“An aspirational first performance”

Jacob Greenhouse is impressed by 'Blatavsky's Tower', the first production from newly founded company

“A little-known gem”

Thomas Player gives four stars to 'Dear Brutus', an underrated classic

“Sharp humour with profound philosophical underpinnings”

Giovanni Musella looks ahead at a new production of Blavatsky's Tower

“Elegant, witty, sophisticated, remarkable”: The ‘Philanthropist’

Katie Sayer and Emily Lawford meet the all-star cast of Simon Callow's production of 'The Philanthropist'

“Injections of humour amidst the Beckettian existential angst”

Emily Lawford is impressed by Leveaux’s revival of Tom Stoppard's meta-theatrical tragicomedy Rosencrantz and Guildenstern Are Dead

“Love and humanity scattered amid the horror”

Emily Lawford enjoys a genuinely frightening production of Macbeth

A word from the stalls

Miriam Nemmaoui speaks to a tipsy audience member at Suzy Cripps’ 'The Optimists'

“Even while expecting an hour of postmodernist drama, I couldn’t have been more unprepared”

Katie Sayer recovers from the gripping and disturbing 'Marat/Sade' at the Keble O'Reilly

A disturbing worldview undercut by patchy acting

Olivia Cormack finds that it's not just the costumes in Contractions that need ironing out

“More gentle slap than sucker punch”

Katheryn Thompson finds Made in Dagenham lacking in political grit

“A bold and unapologetic production”

Surya Bowyer is frustrated by a powerful production of 'Suspiria' which comes so close to greatness

Anything but a simple fairy-tale

Ebere Nweze is impressed by this unnerving and sharp new adaptation of Wilde’s short story

“Young, classy and capable of mischief”

Jacob Greenhouse is impressed by the freshness of Consortium Novum’s production of The Marriage of Figaro

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Theatre

On the edge of honesty: ‘The Man Who Turned into a Stick’

Erotic suspense and trickery: ‘Twelfth Night’ at St Hugh’s

Sin and nectar: Behind the scenes of ‘Women Beware Women’

Well-managed complexity: ‘In Praise of Love’

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