Pin Drop raises more questions than answers, but judging by Saulwick’s notes, this is perhaps what she set out to achieve.

One of the most joyous elements in this show is the way it captures the interaction amongst and between the artists; the dancers and musicians, but also the men and women.

Die Winterreise is a work that transcends an evocation of mood; it forces a visceral participation from its audience, and offers an experience quite unlike any other.

The Water Carriers is one of those surprising works that ends in an emotional space entirely different to that in which it begins, and pleasantly, it takes its audience along with it.

It is difficult to know what this play is actually hoping to achieve. It depicts stereotypical, unrecognisable characters, and highly unlikely coincidences.

The two pieces, though very different in style and mood, are together a reflection and celebration of spirit; of life’s journey – here on earth and afterward, as well as in the origins and basis of classical ballet itself.

Reg Cribb’s The Haunting of Daniel Gartrell is a play that calls for more than just one viewing or reading. Within its text and Straightjacket Productions’ production of it, there is much to get one’s head around.

Nina proves that as an art form, ventriloquism can be not only extremely funny, but naughty, sexy, topical, and perhaps above all, intelligent.

On this particular evening the theatre is half empty and despite the talent of its comedians, the mood is rather subdued.

Faker is quite astonishingly the first solo Obarzanek has ever choreographed for himself and his first performance on stage in fifteen years.