MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
Black Mountain
Orange Tree Theatre, Richmond-upon-Thames
BUILDING dramatic tension is not an easy skill for a playwright to master. Just a word or two, or even a pause, in the wrong place can puncture long spells of hard-earned unease.
In Brad Birch's latest play it is not so much his delicately crafted and intriguing wordplay that bursts the bubble but the deflating lack of substance behind it.
James Grieve's minimalist in-the-round production utilises just a ring of light and a collection of shrill sounds to illuminate the story of a murky love triangle.
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