Written for Culture Wars Slyvia Rimat’s attempt to create an absolutely unforgettable performance is more interesting conceptually than it i...

Written for Culture Wars Slyvia Rimat’s attempt to create an absolutely unforgettable performance is more interesting conceptually than it i...
Written for Culture Wars An old man repeatedly losing control of his bowels in front of a vast portrait of Christ, which eventually ‘cries’ ...
Written for Culture Wars About sixty of us have just watched a nude man, drenched in some sort of bitumen-like substance, wrenched upwards t...
Written for Culture Wars It feels, at times, like being tasered. The fierce walls of sound – some low and heavy blows, others high, stabbing...
Written for Culture Wars Tim Etchells and Ant Hampton’s The Quiet Volume strikes me as the best piece of audio-based autoteatro to date. It...
Written for Time Out The House of Atreus becomes a house of horrors in Nick Payne’s condensed Electra . There are moments of primal fear, gu...
Within the confines of the work they see, the major critics are – in taste, if not so much in terms of cultural or ethnic diversity – a pre...
Written for Time Out Here's a curiosity: new writing that comes incredibly close to being pro-life and pro-faith. Playwright Ian Wintert...
Written for Culture Wars A staple amongst literary settings, largely on account of their inherent placelessness and urban ubiquity, the hote...
Written for Time Out Gilbert and Sullivan's fairytale fits Wilton's Music Hall like a glass slipper, thanks to Sasha Regan's imp...
Written for Culture Wars The year of the Rattigan continues as another of his forgotten fineries gets dusted off by Thea Sharrock, whose exq...
Written for Culture Wars The word ‘immersive’ makes me think of bathtime. More specifically, it makes me think of the perfect bath. The sort...