Diana Damian

Mad Forest by Caryl Churchill is an epic and daring play; and in Caroline Steinbeis’ production the cast rises to the occasion with unbreakable energy and pinpoint focus.

In the final installment of her Adventures in Movement coverage, Diana Damian reviews It Happens…, TAT TAT TAT and May I….

Benedetti asks us to rethink Sarah Kane’s writing one more time, so that maybe now, in light of our times, we can understand a different side of her.

This second round of reviews from the Arcola’s Adventures in Movement Festival includes coverage of Mass Exercise and Vulnerasti.

Cinderella, fairy tales, waitresses and Transylvanian vampires collide in After Cinderella and Violet Smile at the Arcola Theatre.

Diana Damian talks to the makers of Accidental Art, a theatre experiment based on the myth of Oedipus, involving a director, a psychologist and a group of actors.

Theatre does not have to be linear or orderly, its strength lies in collage, Mikuš tells us. Werter, Werter is broken, odd, and wonderful.

What do Punchdrunk’s Tunnel 228 and Tim Crouch’s England have in common? They rethink the relationship between artwork and gallery space through interdisciplinary performance.

Holy Mothers is full of surreal religious moments, and while not always explored to their fullest extent, they add an evocative dimension to Schwab’s renowned Austrian cynicism.

In Wall, David Hare conjures a vision of the future; drawing on history that is being written as we speak, his journies make faraway lands feel less distant, less foreign than we’d have them be.