On one hand, Moving Pieces Theatre Company has a bold mission statement: ‘We combine performing arts with the containment of psycho-therapeutic practices and emergent ideas relatin…
Rhiannon Brace’s autobiographical play The Promised Land gives us the best of two dramatic worlds – the ring of authenticity and a pleasing narrative arc (not always present in…
Anna Jordan’s two-hander FREAK is an unflinching look at female sexuality in a 21st century context.
Jack Cray is The Fittest Man On The Street.
I was interested in the credentials of the performer of The Vein, the Fingerprint Machine and the Automatic Speed Detector, whose intense manner and air of authenticity was captiva…
In this show of songs and character vignettes, Nigel Osner casts his perceptive and somewhat mischievous gaze over the poignance and ridiculousness of clinging to the illusion of y…
Rob Auton is described as many things in addition to being a stand-up comedian – a philosopher, thinker, poet, surrealist.
Brighton Horrorfest 2018 invited audiences to ‘Come to the Castle of Count Jackula’ to see the Foo Foo Fighters’ intriguing and delightfully bloodthirsty burlesque with a Got…
Falkland opens with a projected collage of imagery from the time of the Falkands war – punk rock, Brezhnev, Pacman, the Brixton riots, the wedding of Charles and Diana.
Two women are on stage, their mouths are taped shut with broad, black gaffer tape.
24th May 2015 was the day that Ireland became the first country in the world to legalise same-sex marriage by popular vote.
The audience enters The Warren's Theatre Box to find the actor sitting on a minimally dressed stage, carefully cutting up and arranging slices of fruit on a platter.
Kevin and Babs Chisholm run The Dog and Dumplings pub along with a mute parrot and a lesbian cat.
The past is littered with magnificent women who deserve to be remembered and Anna Brassey is one of them: curator, collector, philanthropist, photographer, founder member of St Joh…
The Erebus Project has an interesting premise.
Are leaders born or are they raised? The latter would seem to be the case in Duncan Henderson’s excellent one man play The Polished Scar.
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