Stephe Harrop

In the end it’s the fragments of ancient stories that resonate most strongly through The Diver, moments of unexplained but intense ambiguity and allusion.

Chi Chi Bunichi is a devised ensemble performance exploring the resonant qualities of Ladino, a dying language once widely spoken throughout the Balkans, but now surviving only in songs.

This is definitely one to watch out for in the future, a face-stuffing feast of polyphonic fantasy, post-colonial farce, and riotous, rumbustious imagining.

The cast of nine works hard to bring consistency, humanity and humour to an often bitty and occasionally ranty play.

Some of the satirical prey we’re stalking may be a little long in the tooth, but Wolves at the Window proves that there are plenty of larks to be had in the hunting of geriatric lions.

The upstairs room of the George Tavern is one of those places you read about in books when you were a kid…

The Midnight Matinee is a scratch night that kicks off at midnight and promises a mixed bill of new work, work-in-progress and general experiment.

Somewhere in all this, there’s a neat, touching, melancholy little musical, about shifting from the black notes to the white, and believing in the possibility of happy endings, despite experience.

The Cows Come Home is an enigmatic experience that resonates in some place deeper and stranger than the intellect.

The Only Girl in the World insists upon the importance of remembering the real people who get lost when public horrors shatter hidden, private lives.