Lines is a hard-hitting and thought-provoking play exploring the way prisoners have been treated across half a century – but at times it could use some more breathing space.
Although the Carry On style of bawdy humour it mocks is dated, this rendition of Michael Frayn's cleverly constructed farce still feels very fresh – and there are some genuine belly laughs.
Treason the Musical uses eclectic musical styles to tell the story of Bonfire Night and should not stand in the shadow of the more famous Hamilton, according to reviewer Paul Szabo.
The stage adaptation of the 1992 Whitney Houston and Kevin Costner film shines in its production values and musical delivery – in the face of some hammier moments.
Transporting the setting of the story to an institute for young adults, everything about Bourne’s production oozes class. But his real talent is his ability to convey a narrative so easily through movement.
Featuring queer friendships at its core, The Way Old Friends Do is centred around ABBA but is not a musical. What did reviewer Paul Szabo make of this Lyceum production?
Nightmare Magic by David Alnwick nestles itself somewhere between a one-man play, a magic show and piece of well-imagined storytelling. Paul Szabo reviews the horror-inspired event.
What happens when you put RuPaul's Drag Race stars in a camp horror parody of the Sound of Music and Sister Act? Paul Szabo went to the Lyceum to find out.
As Steven Waters' climate-emergency call to arms Resilience arrives in Sheffield, reviewer Paul Szabo describes it as "pleasingly funny, worryingly accurate and frighteningly concerning".
Despite terrific song choices, Rush Theatre's black history production fails to come together as intended, ultimately coming across as unenthusiastic and disjointed.
Captions, in-built audio description and BSL integrated into the production made Much Ado About Nothing even more accessible to the audience, says Paul Szabo.
