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.
The experimental orchestra succeed in delivering an expansive, genre-jumping soundtrack which has more dopplegangers than a Stars in their Eyes night at the Black Lodge.
With an eclectic set of venues ranging from the Cathedral to a grimy rave cave, the sixth edition of No Bounds offered a programme that was both inspiring and life-affirming.
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".
A display of delightful insanity by Daniel Rigby as the Maniac, combined with simple but impactful lighting and set design, makes for a powerful reboot of the 20th-century classic.
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.
Taking place at venues across Sheffield, Strange Days’ triumphant one-day extravaganza had Prima Queen, Modern Woman and Everything Everything in between.
