The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
Latest editorial
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
punchdrunk
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
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.
More from this author
‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
WILL STONE applauds a quartet of dance vignettes exploring the joys and sorrows of the human condition
WILL STONE overlooks the corn to find the beauty in the music of the Danish indie-pop oddities