GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Dangerous bedroom reverie
WILL STONE is left wanting more by an immersive show that is within reach of greatness but doesn't quite grasp it
An audience member explores Viola's room
[Julian Abrams]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Viola’s Room
The Carriageworks, Woolwich
PUNCHDRUNK, the vanguard of immersive theatre, has made the giant Carriageworks (two former arsenal buildings in Woolwich) their headquarters since launching their last big work, The Burnt City, there in 2022.
The wildly ambitious and atmospheric production of The Burnt City, themed around the fall of Troy, saw punters donning masks as they followed any actors they chose around the cavernous site.
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MARY CONWAY is disappointed by characters so un-nuanced as to be unreal, a stereotypical plot and a conceptual vampire
Following his death a month ago, DENNIS WALDER assesses the achievement of the playwright who developed his work in the townships