Bricks and Mortar Theatre’s Doc Marten clad exploration of masculinity and nationalism.
Speak No Evil is a play about freedom of speech which really doesn’t speak anything of substance.
A hilarious piece of total theatre about the man who would be Kubrick.
Cambridge University ADC’s postmodern adaptation of Aeschylus’ tragic trilogy.
Rory Edgington fights through the crowds at the Edinburgh Festival Fringe and questions whether it’s all that it used to be.
A cult piece of cinema perfectly captures the ideological atmosphere of the 80s.
John Murray’s show is a hit filled drama looking at Ol’ Blue Eyes’ career.
Sanctuary explores the moment when profound reality interrupts a banal existence.
AJ Taudevin’s take on the convoluted process of seeking asylum, directed by Catrin Evans.
Stanley Kubrick’s cult film examines whether controlling criminality with medicine is morally justifiable.
Loach’s latest feature-length documentary gives a fascinating glimpse of Britain’s immediate post-war history.
Wee Stories’ succinct and agile production is as rewarding for adults as it is for younger generations.
A bleak and excruciatingly honest portrait of the ‘Rainbow Nation’.
Ad hoc solutions aside, this is an informative and entertaining debate on the nature of progress.
Though slightly forgettable, I, Tommy is current, trenchant and at times very funny.
Minotaur is a finely directed minimalist piece, straddling both the traditional and modern in its concept.
The chemistry between Bongile Mantsai and Hilda Cronje is torrid, creating a perspiration drenched eroticism
Hlengiwe Lushaba and Lesego Motsepe have a brilliant comic chemistry, riffing off the polarities between their characters.
Sarah Kane’s swan song is darkly beautiful and still as harrowing as ever.
Almost five decades on, Fourth Monkey demonstrate that The Erpingham Camp has lost none of its resonance.
Ed Eales-White’s new sketch show relies more on the exuberance of delivery than content.
Aizzah Fatima adds another passionate voice to the debate on multiculturalism.
This 1981 classic of South African theatre is as funny and sharply critical as it was 31 years ago.
With swagger, charisma and audience rapport, Rob Crouch ensures this is never simply an Oliver Reed impression.