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.
“That verily was bloody brilliant!”
Willow Wigglesword tells us what’s wrong with the student writing scene
JOSSIE EVANS escapes revision for an evening and finds it really rather pleasant.
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.
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.
LEO PARKER-REES is turned off by a drama that misses the point of television.
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.