Matt Boothman

Matt Boothman talks to the artists and organisers of Home, a pop-up installation and performance art event staged in a Regency mansion in residential Penge, London.

In The Lamplight’s Lady Julia brings August Strindberg’s seminal Miss Julie bang up to date. How does it fare in its new 21st century context?

The Stefan Golaszewski Plays work so well as a double bill; it seems likely they were always meant to be performed together.

Viewed in context, HALL is a necessary step in the evolution of audio-instructed performance to a form capable of telling big, sprawling stories as well as brief, compact ones.

In the final 15 minutes, The Author is revealed for what it has really been all along: a daring act of self-flagellation by Crouch on behalf of provocative art and controversial artists.

The machine is the undisputed star of the production, which, after a few deliberately confusing false-starts, eventually reveals itself as a parable about the dangers of stock market speculation.

In Full Tilt’s revival of Orestes: Re-Examined, the audience is brought forward as jury to judge the case of Orestes’ matricide and its myriad ramifications.

Like a glass-panelled clock, Deborah Warner’s Mother Courage and Her Children doesn’t just choose not to conceal its inner workings, it displays them, inviting the audience to marvel at the way the pieces fit together.

Battersea Arts Centre’s Scratch nights have always been about risk-taking and experimentation, and with Freshly Scratched – one of the two parallel programmes in this year’s Scratch Festival – the…

As an examination of the overly simplistic adult tendency to classify teenage behaviour as the direct result of easily identifiable causes like alcohol, pornography and violent media, Punk Rock delivers.