Theatre

‘Delusions and Grandeur’ at the Fringe

★★★⯪☆ If there is one word to describe Karen Hall’s Delusions and Grandeur, it is anxious. The one-hour solo cello comedy show is filled with anxiety, existential dread, and uncertainty....

Culture Peter Hardisty -

The Oxford Revue at the Fringe

★★★⯪☆ Returning for their 62nd annual pilgrimage to the Edinburgh Fringe, the Oxford Revue rolled...

Culture Leon Moorhouse -

‘Do Zombies Dream of Undead Sheep?’ at the Fringe

★★★⯪☆ Do Zombies Dream of Undead Sheep? is a one-man, one-puppet musical journey through the...

Culture Nicole Palka -

‘Timestamp’ at the Fringe: Existing in the ‘now’

★★★★☆ Timestamp is a part-theremin, part-dance exploration of womanhood, expectation, and time. Brought to the...

Culture Nicole Palka -

Latest

Review: Antony and Cleopatra – a star-studded Shakespeare

Lawrence Li is impressed by the National Theatre’s opulent imagining of a Shakespearean classic

Review: Hadestown – from myth to musical

The National Theatre's musical work-in-progress proves to be a charming retelling of the story of Orpheus and Eurydice

The Lady’s Mad Review – ‘a triumph’

Paul Nash is captivated by Thistledown Theatre's production of Rebekah King's new play.

The Tragedy of King Richard the Second – ‘stripped-down Shakespeare’

The timing of many lines elicits genuine laughter from the audience; in these interesting times we live in, such a take feels intensely necessary.

Jersey Boys Review – ‘the drama falls flat’

The lead actors march around on stage like four dads thrown together on a charity tour of the YMCA.

Silent Night Review – ‘a story very relevant to our time’

The multilingual reimagining of the Christmas Truce at Leeds Town Hall feels particularly timely

Dirty Dancing Review – ‘gives fans exactly what they want’

Maxim Mower enjoys a touring production of Dirty Dancing at the New Theatre, which he says will satisfy lovers of the 1987 movie.

“After three hours in an Omniplex I am, at least, still alive” – livestreaming from theatre to cinema

Dorothy McDowell sees potential in livestreaming theatre, but it still fails to reach a mainstream audience

True West Review – ‘this is truly sweet suburban silence’

Sam Shepard's play explores the tensions behind the American Dream.

The Winter’s Tale review – atmospheric and otherworldly

Nicole Jashapara is charmed by this production's aesthetic and comic performances

Auditioning – what it’s actually like

Beata Kuczynska provides a look behind the curtain at the highs and lows of the auditioning process

The Admirable Crichton Review – ‘a light-hearted antidote to eighth week’

Simone Fraser finds Corpus Christi Owlets' new production to be effective comic relief in eighth week.

Blood Brothers Review – ‘truly exceptional theatre’

Katie Sayer is wowed by the quality of a touring production of the 1983 musical.

An Unexpected Visitor Review – ‘performed in a unique space but falls short’

The setting of Mercury Theatre Productions' newly written play is impressive but the writing requires reworking.

Brink Review – ‘brilliant from start to finish’

Nitrous Cow Productions' new play has a high standard of acting and great technical sophistication

Little Eyolf review – modern and experimental but lacking depth

An experimental and bold play held back by limited character development

Table Manners Review – ‘subtly and successfully updated’

Flared Productions' new take on Alan Ayckbourn's 1973 play is highly enjoyable

An Unexpected Visitor preview – immersive ingenuity

Lawrence Li is won over by the unconventional staging and comedy of this production

‘Brink’ Preview – ‘an exploration into public vs. private spaces’

Alastair Curtis' new play explores how individuals forge connections with others in our modern, digitalised world

Salome Review – ‘struggles to take audience into another world’

Tea Party Productions' 'Salome' shows the play's continuing power to unsettle

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Theatre

‘Delusions and Grandeur’ at the Fringe

The Oxford Revue at the Fringe

‘Do Zombies Dream of Undead Sheep?’ at the Fringe

‘Timestamp’ at the Fringe: Existing in the ‘now’

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