Theatre
Junta Sekimori: With the Fringe bulging obesely with single-performer shows, surely the Edinburgh International Festival could treat us to something a little less dou...
Anna Polanyi: The concept of a “light & sound show” is given a whole new dimension. Techies, the quiet types in the shadows, hold this show firmly ...
Miles Johnson: The Palestinian National Theatre has been described by its director as having “a very big name for a very small company”. And as the curta...
Junta Sekimori: Inner demons are the focus of Polish powerhouse TR Warszawa’s double bill at the International Festival this year, incarnated as mental illness ...
Junta Sekimori: There’s little doubt that 4.48 Psychosis would be a lesser play if it could be considered independently of its context. Its author Sarah Kane su...
Ella Hickson: Adolphe Adams’s nineteenth century ballet explores the alienation and destruction caused social hierarchy. The aristocratic Albrecht falls for t...
Hannah Thomas: Most dancers expect to develop the odd blister during rehearsals, but few anticipate being knocked out cold by a violent blow to the head. Fewer still...
Junta Sekimori: Latecomers are strictly not admitted in this almost word-for-word adaptation of Edgar Allan Poe’s much-studied short story, and moments in we se...
Miles Johnson: Many theatre companies face the problem of a lack of funding. Few though suffer from a dearth of actors, let alone having to smuggle scenery across mi...
Laura Battle: It’s fair to say that dance is not known for controversy. Despite a number of incredibly innovative productions from Matthew Bourne and his comp...
