Matt Boothman

In Rotating in a Room of Images, participants spend the majority of the 15-minute production in pitch darkness, guided only by invisible hands and the spooky voice in the headphones.

Wondermart continues Rotozaza’s work with audio-instructed performance and develops the site-specific element introduced in Etiquette.

Tunnel 228 isn’t meant to be found (i.e. stumbled upon at random); you’re meant to find it (i.e. actively seek it out).

If anthropogenic climate change is the greatest challenge currently facing mankind, then right now Steve Waters’ The Contingency Plan at the Bush Theatre is the most important artwork in the country.

A Place at the Table has a couple of rock-solid concepts – the subject matter and staging – at its heart, but glommed around them is a mass of shiny little distractions that serve only to obscure the truths verbatim theatre is supposed to expose.

Though Death and the King’s Horseman was programmed well before England People Very Nice opened and the accusations began, in context it feels like a comforting reassurance that the National Theatre does not condone racism.

The Forest Fringe is set to challenge every convention in sight, from the role of the audience right up to what we can comfortably classify as theatre.

It’s all too easy to remain detached from the subject of Iraq. Stovepipe aims to pick us up off the sidelines and deposit us bodily into the midst of the relief effort.

Incest is a theme that can’t help but eclipse all others in its power to raise a reaction. This play is going to offend some people – and isn’t that the litmus test for vital art?

The Gate Theatre is thirty years old this year, and they’ve been involving their fans in the celebrations…Taking part in the exhibition engenders a strange feeling of connectedness.