Imogen Front shares with us her formative experience of live theatre at the now closed Nuffield Southampton Theatre.
Madeleine Ridout’s detailed review of “Convenience Store Woman” by Sayaka Murata: how does a single woman respond to Japanese social pressures?
By bringing the Shakespearean drama not only to life but to the immediate surrounding of us, Sleep No More blurs the border between drama and life.
Leona Crawford reflects upon the cinematic viewing experience and revisits Paweł Pawlikowski’s Cold War, exploring its melancholic yet beautiful nature.
Chloé Agar reviews The Haunting of Bly Manor, the recently released sequel to The Haunting of Hill House.
Eleanor Horton reviews David Attenborough’s A Life On Our Planet, exploring its merits as well as its shortcomings.
The thrilling spontaneity of a live performance is lost when the same version is replayed and editing done to perfect mistakes. The audience and performers are inextricably linked by a bond of being; the audience exists to watch, the actors to be watched.
Carol Jones discusses the implications of Cineworld closing down and looks at the future of cinema in general.
Sarah Lewis reviews ‘Emily in Paris’, starring Lily Collins, a comedy drama which has recently been released on Netflix.
Osian chats with Aleks Cvetkovik. Who, fresh out of Oxford only some six years ago, quickly found a niche for himself as a menswear journalist at The Rake Magazine. He then moved on to become deputy editor of luxury men’s magazine The Jackal before turning freelance two years ago to try his hand at making podcasts.