The flap of this butterfly’s wing doesn’t quite stir up the emotional storm it hopes to, says Jamie P. Robson.
Joseph Spencer is confused by this year’s Footlights Harry Porter Prize winner
The Madwomen in the Attic is both provocative and subversive, hilarious and disturbing, says Molly Moss.
Willow Wigglesword tells us what’s wrong with the student writing scene
FRANCESCA HILL found this selection of new material partly surreal, partly underwhelming.
This play doesn’t quite fly with JAMES STANIFORTH, but could take off with a little more thrust.
Theatre Editor AMI JONES doesn’t mean to be impolite, but she simply can’t bring herself to stomach this underseasoned offering.
THE THEATRE GUIDE DOG prophesies theatre to come. And is having suspicious food cravings. WHAT COULD THIS MEAN?
Clichés are a sign of very bad writing and JAMES MACNAMARA has counted all these chickens many times before.
New writing being predictably unpredictable, it’s perhaps not surprising that ZULFIQAR ALI found the wrong bits funny about this show.
THE THEATRE GUIDE DOG shares her tragic past, but only because it has something to do with this week’s theatre. She’s not some kind of sop, you guys.
In amongst his habitual ravings LAURIE COLDWELL conceals a review of new writing which bites but can’t be bitten.
In the second thrust of her Week 8 double-whammy, MATILDA WNEK glories in a whole hour of just Abi Tedder and a fistful of lolz.
KIERAN CORCORAN treads a thin line between sophistication and sophistry as he assesses a slick and sharp new satire.
Jamie P. Robson
Joseph Spencer
Molly Moss
jon
Willow Wigglesword
Francesca Hill
James Macnamara
Kieran Corcoran