Stephe Harrop

Warm, wise and beguiling, The Frog Princess is fifty minutes of rough magic that takes its audience on an epic imaginative journey.

Is a work of art only as interesting as the sex-life of its creator?

Dominic Hill’s production is gutsy, inventive and stylish, finding a gripping, discomfiting immediacy in Ibsen’s perplexing tall-tale.

The company are obviously talented and brimming with energy, but this patchy adaptation lacks both pathos and pace

An old-fashioned confection of kindly wish-fulfilment, Country Magic appeals to the enduring desire that small miracles might somewhere, and somehow, occur.

Edward Gant’s Amazing Feats of Loneliness is Anthony Neilson’s homage to the garish and cruel spectacle of the nineteenth-century freak-show.

Veering between silliness and savagery, at times The Story of Vasco feels like a mind-bending collision of Milligan and Lorca.

Amit Lahav’s company bring wit and compassion and an essential lightness of touch to this grimmest of stories, aided by Ti Green’s bleakly playful set and some glorious lighting from James Farncombe.

Despite a few wobbles The Lion, the Witch and the Wardrobe bodes well for a productive conjunction of company and venue.

Eonnagata is a diffuse, episodic and sometimes meandering meditation upon identity and gender, with moments of painful intensity interspersed with passages of narrative obscurity.