“Jayde Adams” at Edinburgh Fringe, Review: A Rafter-Rattling Hour From The Bristolian Diva
Jayde Adams Pleasance Courtyard, Edinburgh ★★★ Jayde Adams is playing the Edinburgh Fringe in a...
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United Kingdom
“Status” by The Summerhall: “It’s Not Another Brexit Show,”
“It’s not another Brexit show,” Chris Thorpe declares as he embarks on his...
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Marguerite Duras’ “La Maladie De La Mort”: Katie Mitchell and Alice Birch Collaboration
As its title suggests, La Maladie De La Mort is not exactly an uplifting piece of theatre. In...
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Jon Harvey, Edinburgh, Review: The Most Surprising Show Of The Fringe
Jon Harvey Assembly George Square Theatre ★★★★ In a stuffy Portakabin tucked around the back of...
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“Silk Road (How To Buy Drugs Online”) at The Trafalgar Studios
The Dark Web has an intriguing sound about it. Like something out of JRR Tolkien or JK Rowling, it...
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Laura Wade’s “Home, I’m Darling” At The National Theatre
Nostalgia used to be a disease, but now it’s a lifestyle choice. Look around you: British reality...
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“Nina’s Got News” – Edinburgh Fringe, Review: Frank Skinner’s Debut Play Is A Wasted Opportunity
It is 27 years since Frank Skinner won the Perrier Award in Edinburgh, setting him on the path to...
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Lost Voice Guy – Edinburgh Fringe, Review: Pointed Laughs From The Britain’s Got Talent Winner
Lost Voice Guy, who won Britain’s Got Talent earlier this year, warns us that Inspiration Porn is...
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Brian Friel’s “Aristocrats” At The Donmar Warehouse
Chekhovian is a rather over-used word when it comes to describing some of the late Brian Friel’s...
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Vince Laws: “A Very Queer Nazi Faust” – Participatory, Experimental Transmedia Performance
A Very Queer Nazi Faust is an experimental participatory performance piece created by artist Vince...
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Rose Matafeo’s “Horndog” – Edinburgh Fringe, Review: “Invigoratingly Enjoyable”
Before her show begins, Rose Matafeo is on stage, bounding around in trainers and a tennis skirt,...
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Traverse Theatre’s “What Girls Are Made Of,” Edinburgh, Review: An Irresistible Tale Of Britpop Fame And Misfortune
Long before Cora Bissett became one of Scotland’s most exciting theatre-makers–in 2012 she won an...
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Girls Being Bad: “Our Dear Dead Drug Lord” By Alexis Scheer
“On Wednesdays, we wear pink,” affirms Regina George in the 2004 cult classic comedy Mean Girls....
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“Allelujah!” Bridge Theatre: A Sharp Injection Of Cynicism From Alan Bennett
Here’s a chorus line with a difference: the geriatric ward of an under-threat Yorkshire hospital,...
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A Century Of Queer Performance With Serena Grasso
The Oberon Book Of Queer Monologues, just released, is an astonishing new collection which...
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Rory Mullarkey’s “Pity” At The Royal Court
London’s Royal Court theatre, which proudly boast of being “a leading force in world theatre for...
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“Allelujah!” at The Bridge Theatre
The NHS is us. For decades our national identity has been bandaged together with the idea, and...
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Four Directors Give Four Reasons To Be Graeae
To mark the launch of Graeae’s new book, Reasons to Be Graeae, which charts the history of the...
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“Me And My Girl,” Review: Matt Lucas’ Stand-In Provokes Frenzied Standing Ovation
When the first person to appear on stage is director Daniel Evans with a microphone in hand and...
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Sally Cookson’s “A Monster Calls” At The Old Vic
There are few subjects as emotionally fraught as the relationship between childhood and death. How...
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