THE GLITCH

by Clementine Scott - March 12, 2026

In the much-cited 2014 book The Body Keeps the Score, the Dutch psychotherapist Bessel van der Kolk wrote of how the human body can be undone and rewired by traumatic experiences. In Iron Fantasy, comedy duo She-Goat have absorbed this idea into their musical comedy, and explored if and how one can ...

by Gary Naylor - March 12, 2026

Australian adaptation of the original story, not the film, packs a punch...

by Katie Kirkpatrick - March 11, 2026

Known for her evocative, folk-infused sound, Manic Street Creature sees Memon take the reins as writer and composer as well as performer, bringing her distinctive voice to a personal story of second-hand trauma. First performed at the Fringe in 2022, it’s now back in a new production at the Kiln.�...

by Cindy Marcolina - March 11, 2026

The best of Irish playwriting lands at the Barbican in an exciting project. An audience of one steps into a booth blindly for a play they don’t get to choose. Six five-minute one-act shows penned by Enda Walsh, Marina Carr, Mark O’Rowe, Joy Nesbitt, Louise O’Neill and Katie Holly are offered o...

by Aliya Al-Hassan - March 11, 2026

Christy Lefteri’s 2019 bestseller The Beekeeper of Aleppo is both a powerful and poetic story about the refugee experience. Her story of Nuri and his wife Afra's escape from Syria to England was inspired by time Lefteri spent working in a refugee camp in Athens. Syria may currently be seen as le...

by Clementine Scott - March 10, 2026

Sarah McGuinness is best known for her work producing whimsical indie documentaries about the standup comedian Eddie Izzard; in her one-woman show, though, there are only passing references to this. To put a finger on what the show is about is no easy task, because it’s a confused jumble of autofi...

by Clementine Scott - March 10, 2026

Park Theatre’s latest double bill presents two recent works from an emerging writer, both centring average queer London lives, and the lengths we’ll go to to present the versions of ourselves we want the world to see. Both are somewhat overblown in their execution, but at their best they are ima...

by Franco Milazzo - March 09, 2026

At the Menier Chocolate Factory, the revival of Ryan Craig’s The Holy Rosenbergs arrives with the weight of history attached to it. When it first appeared at the National Theatre’s Cottesloe Theatre in 2011, it was a sharp entry into a conversation about Jewish identity, family loyalty and moder...

by Cindy Marcolina - March 10, 2026

In spite of being one of the most difficult genres to stage, horror theatre is having its moment. The Woman in Black might have closed at the Fortune three years ago (almost to the day!), but the success of Paranormal Activity at the Ambassadors is proof that audiences are hungry for some spooky dra...

by Clementine Scott - March 07, 2026

When it premiered at Soho Theatre in 2012, Blink was a whimsical oddity, an ode to two eccentric loners falling in love. In 2026, it takes on a darker tone, with the subtitle “a parasocial love story” foreshadowing things to come....