A darkly sarcastic solo performance by a woman who committed suicide.

A happy play about the sad friendship between two die-hard fans of Harry Styles.

Reductive in its assessment of post-Brexit Britain, and complacent in the assumptions it makes about its audience. Great music and energetic dancing can’t redeem a misguided concept.

An approximate profiling of a dysfunctional couple and their crumbling relationship.

The lives of three distinct characters accidentally touch through the means of psychological abuse, radicalisation and self-deprecation.

Pros: The topic, the text, the direction, the acting, the sound and lighting. Everything in this production is a delight. Cons: There was a bit of noise coming from the adjacent rooms. Laughter and tears chase each other in this intimate drama written and performed by the brilliant Nicola Wren. With a good dose of humour, she gives a potent account of her character’s experience as a female police officer and her struggle to come to terms with her brother’s tragic passing. ...

A riotously fun crowd-pleaser which wraps glitter and fluff around an intelligent and utterly convincing message.

Pros: Great music and sound, riveting movement, a lot of vitamin C Cons: More guidance about context before the show would have enhanced the experience. We filed into the space as two performers (one male, one female) danced beside each other to the kind of insistent Dancehall beat that tempts surreptitious chair-dancing. Both were dressed the same, in clothes that hid nothing: fishnet body stockings, matching trainers, tiny nipple shields. Naked equals. The atmosphere was intimate but inward-looking, devoid of ...

A psychedelic take on the Greek tragedy Iphigenia in Aulis, which combines audiovisual broadcast and enigmatic live performance with highly imaginative but obscure results.