Review: Consent, Harold Pinter Theatre
Going into a play called Consent, complete with trigger warnings about sexual assault outside, it comes as a surprise to discover that the play is somewhat of a...
Rick Fisher
Review: 46 Beacon, Trafalgar Studios
How many of us can look back at a specific night in our lives and recognise that it has changed who we are forever? Bill Rosenfield can, and 46 Beacon is a semi...
LIFT Festival Review: Stella, Hoxton Hall
A man sits, alone, isolated, staring bleakly into the distance. Across his face run memories of his past, concern of the present and fear of what is to come. Th...
Review: Rabbit Hole, Hampstead Theatre
David Lindsay-Abaire’s Rabbit Hole is delicate. It portrays the delicacy of one family’s new normality in grief and the delicacy of our own normality. Rabbit Ho...
Review: Waste, National Theatre
Perhaps the only truly relevant aspect of Waste, at the National Theatre, is that the white upper classes deal with the country's politics, and avert their priv...
Edinburgh Fringe Review: Man To Man, Underbelly Potterrow
Ella (Margaret Ann Bain) has lived a double life. She has spent her time posing both as herself and her dead husband Max in order to avoid the Nazi regime i...