Review: Disappearing Wonderful, Tristan Bates Theatre
There’s something rather brazen about theatre graduates springing out of university with a musical about how difficult it is to find enriching work after gradua...
Amelia Forsbrook
Review: Thérèse Raquin, Park Theatre
The forces of society and the drives of the individual are not the best bedfellows in this racy take on Émile Zola’s classic, from adapter/director Nona Sheppha...
Review: Kiss & Cry, Barbican Centre
Poor old Giselle can count her lovers on the fingers of one hand. While this number may not make for a very adventurous erotic bestseller, it is all very conven...
Review: iTMOi, Sadler’s Wells
Accessibility is clearly not Akram Khan’s top priority. The name of this piece alone is a code that refuses to be cracked, a far from obvious acronym that bring...
Review: Rodin, The Coliseum
There’s something so antithetical about dance and sculpture. One is an exercise in the static, an artform that strives to communicate as much as possible thro...
Review: L’Ormindo, Wanamaker Playhouse
Is it okay to elope with another man’s wife, if that other man turns out to be your father? Would you forgive a lover who only stopped his unfaithful ways after...
Amelia Forsbrook
Formerly one of the Wales Arts International critics, Amelia moved to London in early 2012 with two big aims: to continue working as an arts writer, and to discover whether it's ever possible to pull off both telephones and flying in theatre. With particular interests in regional arts, South Asian performance and twentieth century European theatre, Amelia writes for a number of other publications, as well as being an Off West End Assessor.