Back for a second run, Maz Hedgehog’s play, Let Me Count the Ways, blends monologue with poetry in this one-woman show about mental health, blackness, queerness and beauty.
Sympathising with the marginalised, Lorca wrote spirited plays featuring aspirational but oppressed women who sought freedom, pleasure and solace under the cover of night. Here, in the first essay of her mini series, Toni Roberts explores Lorca’s rural trilogy, reflecting on his heroines’ relationship to the night – and day.
Gwen Dupré responds to Ultimate Dancer’s Hevi Metle, a durational sonic performance of six hours, six minutes and six seconds which draws on a feminist approach to alchemy.
The National Theatre presents a new adaptation of Friedrich Dürrenmatt’s revenge thriller, The Visit, by Tony Kushner, which investigates just how far one would go for money in an age of consumerism and capitalism.
Playwright Margaret Perry’s latest one-woman show, Collapsible, is a sharp, witty and honest portrayal of a young woman navigating the harsh impersonal systems of the world.
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.
Mary Higgins and Ell Potter devise and perform in Fitter, a show based on interviews with trans men, cis men and male presenting people, aged from 8 to 102, discussing their views on relationships and desire.
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.
