ANGUS REID squirms at the spectacle of a bitter millennial on work experience in a gay sauna
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 BUHLE agrees that a grassroots movements for change in needed in the US, independent of electoral politics
MIKE COWLEY relishes an exhibition that reminds us, in the teeth of establishment pushback, that lasting change always begins in workplaces, communities and the street
ED RAMPELL is disappointed by the confusing results of embedding cameras amid a Ukranian platoon
KEVIN BRYAN reviews Soul 66, Suzy Thompson, and Butterfield Blues Band
With reservations, RON JACOBS recommends a deep dive into the nature, history, and mindset of US intelligence
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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