Samantha is a native Malaysian, currently studying English at UCL. She specialises in Renaissance theatre, but also enjoys new writing and pantomimes. She is trying to learn the art of writing succinctly. She also hopes the spirit of Roger Ebert will descend on her when writing.
Welcome Home, Captain Fox! is a distinctly war-time play, set amidst a time when the world is whirring along to the paranoid beat of the Cold War, and...
In the dark, dimly lit Almeida Theatre, silver light gleams off a kitchen tap—it's the only truly visible thing in the room before the play begins, an...
The Scottish play is always a crowd pleaser: it is bloody, full of dark intent and supernatural hijinks, sensual murderesses, and carved out of the be...
Octagon is constructed beautifully, layered with meaning and a pure heart that pulses readily throughout the production. Nadia Latif’s direction is ti...
Anchored by the full force of the National’s staging abilities, Our Country’s Good transports us to 1787, early in the long colonisation of Australia....
To bear witness to Tang Shu-wing Theatre Studio’s adaptation of Macbeth is an experience. The production has obvious overtones of Western minimalism b...
Set in the backyard swamps of Southern America, A Midsummer Night's Dream in New Orleans aspires to transplant the Bard's high energy comedy to a comp...
Women have almost always built their lives around the needs and wants of the men in their lives: housewives and mistresses, concubines, daughters, and...
Lacklustre and totally unsatisfying, Lesere fails to impress. Set in 1921, during the Interwar period, John and Jane Lesere have settled into an unexc...
