“With Ruby and I” – review – more McDonagh than Robinson
“So high you can kiss the sky” is one of the many iconic lines from With Ruby and I, a debut show...
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United Kingdom
Learning To Listen, Struggling To Hear: Katie Mitchell’s “Cow / Deer”
There are directors who have gotten us accustomed to treading on unconventional paths. They have...
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“A Working Class Hero” – Identity And Class at Voila! Theatre Festival
Representation in the performing arts in the UK is in crisis. For years, voices have been warning...
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“Aşınma” (“Corrosion”): A Solo Masterpiece About The Contemporary Human
In October 2025, Battersea Arts Centre hosted Aşınma (Corrosion) – a multi-award-winning theatre...
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The Filmed Performance “Woodland Bird Woman” – a Collaboration Between Esther Salamon, Robert Laycock And David Stephenson: Between.Pomiędzy Dispersed Festival 2025
Something flitters among the green leaves of bramble and the brown leaves of a previous autumn....
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Jack Holden’s The Line of Beauty at the Almeida Theatre: A Subtle And Appealing Adaptation Of A Modern Classic 1980s Story
Thatcher, and the image of Thatcher’s Britain, continues to cast a long shadow over contemporary...
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Tanika Gupta’s “Hedda” at the Orange Tree Theatre: A Fresh And Fascinating Reinterpretation Of A Classic Which Foregrounds The Issues Of Race And Empire
In 2023, Malaysian actor Michelle Yeoh won the Best Actress Oscar for her performance in...
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Meghan Tyler’s “Crocodile Fever” at the Arcola Theatre: Northern Ireland Sisters In A Darkly Funny Anti-Patriarchal Feast Of Symbols
Weird scenes inside the farmhouse; weird scenes in Northern Ireland; weird scenes of the 1980s....
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Nick Payne’s “The Unbelievers” at the Royal Court Theatre: Latest Play By A Top New Writer Is Disappointingly Unfocused
The Royal Court, Britain’s premiere new writing venue, celebrates its platinum anniversary next...
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James Graham’s “Punch” at the Apollo Theatre: Compelling And Emotionally Intense Account Of Restorative Justice
Broken Britain has a big problem with youth. About a million of those aged 16 to 24 are NEETs (not...
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Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic
Perhaps it’s an indicator of the feebleness of new writing after the pandemic that so many of the...
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Edinburgh Festival Fringe 2025 in 22 Shows
This year’s Edinburgh Festival Fringe was as sprawling and invigorating as ever, and expectedly...
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“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025
Writer-actor Alan Bissett’s When Billy met Alasdair imagines what happened when Alasdair Gray...
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Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire
For the last thirty years of my attendance, the Edinburgh Festival Fringe has always been too big...
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“No Apologies” by Emma Frankland, Edinburgh Festival Fringe 2025
Emma Frankland’s No Apologies achieves something genuinely rare: a radical reimagining that...
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“The Ego” by Anemone Valcke and Verona Verbakel, Edinburgh Festival Fringe 2025
Anemone Valcke and Verona Verbakel’s The Ego emerges from Ontroerend Goed’s theatrical...
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“Riot Days” by Pussy Riot, Edinburgh Festival Fringe 2025
What is the purpose of performing arts when the stakes are literally life and death? Pussy...
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“Thanks for Being Here” by Ontroerend Goed, Edinburgh Festival Fringe 2025
The Belgian Company Ontroerend Goed have been coming to the Edinburgh Fringe for so long that I...
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“Aether”, Edinburgh Festival Fringe 2025
Emma Howlett’s Aether arrives with impressive academic credentials—consultations with...
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“Little Bulb: Listen Dance”, Edinburgh Festival Fringe 2025
What does it take to get you up on your feet and into the groove? Whatever your disposition,...
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