Review: Hypatia (Blue Room)

The physicality and urgency of the performance brought the story of one woman, and in a way the stories of all women, powerfully alive. Katie McAllister reviews.

Review: The Advisors (The Last Great Hunt)

"Particular passages were the white male performer made an alphabetised recount of racial slurs, or where a female performer attempts to put a positive spin on sexual assault, stood out as unseemly highlights." Nick Morlet reviews

Words with Mararo Wangai

Tolerance is such a politically correct kind of position to have -- you have to do so much more. Harry Peter Sanderson interviews Mararo Wangai.

Review: Matilda the Musical

Dahl wrote from the perspective of a child made powerless in a world run by adults. The musical adaption weaves together Tim Minchin’s rhythmic wit with the children’s classic to stunning effect. Gabby Loo reviews.

Review: Aches & Lakes (UDS)

Each reflection on death and family in the second play necessarily ripples through the first, forcing the wild differences in style and tone to yield in the face of more universal considerations. Harry Sanderson reviews.

Review: The Trembling Giant (The Blue Room)

Unfortunately, the narrative follows standard plot conventions too closely. The script is interesting and engaging, however it may have interacted better with the other elements if it was less constructed and dialogue-driven. Emily Wallis reviews.

Meet Adriane Daff

Having worked for a role-call of notable theatre companies, including Side Pony Productions, Barking Gecko Theatre Company and Weeping Spoon Productions, 30-yea...