Award-winning performance artist Louise Orwin talks to our Arts contributor Carla Plieth about her latest project Oh Yes Oh No and its exploration of female sexual desire, the #MeToo movement, her creative process and more.
The Figs in Wigs are back at the Cambridge Junction, but this time they’re bringing mirth and mischief to young and old alike with their adaptation of The Wind in the Willows.
Matthew White and Bill Deamer successfully revive Sandy Wilson’s 1950s hit musical, The Boy Friend, about a group of young women at a finishing school in the French Riviera.
Jordan Tannahill’s latest play, Botticelli in the Fire, is a glorious queering of Florentine Renaissance, which reveals just as much about the present as it does the past.
The wonderfully witty improv comedy troupe returns to the Fortune Theatre, but how will Austentatious be received by our Austen super-fan and theatre critic, Jo Hemmings?
Ron Athey’s Acephalous Monster comes with warnings of nudity, bloodletting, BDSM and graphic sexual content, but at its heart is a message of resistance and political activism.
Laura Wade’s witty theatrical rewrite of Jane Austen’s unfinished novel, The Watsons, comments on female authorship, agency and joyfully sends up actors, writers and pseudo-intellectualism.
Breach Theatre present their award-winning play, It’s True, It’s True, It’s True, about the Baroque artist Artemisia Gentileschi, her poignant paintings and the sexual assault trial that shook Renaissance Rome.
The award-winning playwright, actress and singer, Apphia Campbell, sits down with Uma Nada-Rajah to discuss living in China, the Black Lives Matter movement and the stories behind her two acclaimed sell-out shows, Black is the Colour of My Voice and Woke.
Following the ambitions of several talented teens in a New York performing arts school, Fame – the original 80s musical – is still electric with energy in its thirtieth year, writes our theatre critic Jo Hemmings.
Tara Overfield-Wilkinson’s revival of Falsettos, the Tony award-winning musical about an unconventional New York Jewish family, is a worthy and emotionally powerful production, writes our theatre critic Jo Hemmings.
