“In Eldersfield is a decade-long, ten chapter cycle of works all for the twentieth century – to which we are no longer beholden, but to whic...
“In Eldersfield is a decade-long, ten chapter cycle of works all for the twentieth century – to which we are no longer beholden, but to whic...
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...
Over the past half-century, experimental theatre has been driven by the realities of performance and the performance of realities. From the ...
Written for What's on Stage After twenty-five years of fiery protest against narrative, fracturing and fragmenting it through repetition...
Written for Culture Wars Few social groups receive such gentle stigmatization as railway enthusiasts. Stereotypically, they are white men in...
Rarely have two pieces of theatre existed so tightly entwined as That Night Follows Day and Once and For All We’re Going to Tell You Who We...
Written for Culture Wars "The inferno of the living is not something that will be: if there is one. It is what is already there, the in...
What with the launch of the SPILL festival last week, it seems appropriate to flag up the accompanying blog - SPILL: Overspill . Its the bra...