The Mancunion

Britain's biggest student newspaper

Theatre

Photo: Richard Davenport

Review: Mobile

A caravan plays host to an exploration of social mobility in 21st century Britain as part of Orbit 2017

(c) Alex Brenner (info@alexbrenner.co.uk)

Review: Instructions For Border Crossing

Anuli Changa reviews Daniel Bye’s interactive mediation on borders, part of Orbit 2017

Photo: Jack Offord

Review: The Believers Are But Brothers

Orla Quilligan reviews Javaad Alipoor’s exploration of what it is to be a young Muslim man today. Part of Orbit 2017

Photo: Matt Austin

Interview: In Bed With My Brother

Theatre Editor Sophie Graci chats to the company behind Edinburgh Fringe hit We Are Ian, now part of HOME’s Orbit Festival 2017

Photo: Alex Brenner

Review: Palmyra

The destruction of an ancient city inspires the breakdown of a relationship in Palmyra

Photo: The Other Richard

Review: Eurohouse

The politics of the EU are explored through the relationship between two performers in Eurohouse, reviewed by Anna Merabishvili. Part of Orbit 2017.

Photo: Holly Revell

Review: Bravado

Sex and violence are inexorably linked in Scottee’s memoir of working class masculinity, reviewed by Theatre Editor Sophie Graci. Part of Orbit 2017

Photo: Johan Persson

Review: People, Places & Things

Anna Merabishvili reviews the touring production at HOME.

Photo: Jamie Lumley @ Wikimedia Commons

The Best/Worst Thing: UMDS

Four members of the Drama Society committee tell us the best thing they have seen in the last year.

Photo: Wikimedia Commons

Opinion: We need to talk about toilets

Dealing with the seemingly banal problems of theatre will keep it alive – so why are theatre critics being so dismissive of them? Theatre Editor Sophie Graci explores

Photo: Lee Baxter

Review: We’re Not Really Here – A Football Opera

Does the beautiful game belong on a field or in the theatre? Jade Fox reviews We’re Not Really Here: A Football Opera

Photo: Richard Davenport

Review: Rita, Sue and Bob Too

Jade Fox reviews Octagon Theatre Bolton’s revival of Andrea Dunbar’s seminal classic