By Nayomi Karthigesu Without a word of warning, the piece by Fizz Margereson jumps straight into a performance about sexual harassment. A fluid fusion of dance, drama and direct activism it recounts “one character’s” tale of sexual harassment through day and night. It is poignant, it is emphatic, and most importantly it is relatable. The piece can be split into four distinct parts, the structure of which resembles the formatting of a pop song – perhaps to mimic the commonalit

Sex is undisputably a political tool at the behest of men to denigrate, fetishise, and codify female bodies in order to put some double glazing on that glass ceiling. Ellie Ward’s confident, colourful, and urgent production of Anna Jordan’s ‘Freak’ for Dramasoc is a big ‘fuck you’ to male ownership of female bodies. Well it is, and it isn’t. To characterise the show in terms of, and only in terms of its prominent feminist message is to hold female artistic production up to ye

By Catherine Kirkham-Sandy Students make a lot of bad decisions, but Dr Faustus, a scholar at Wittenberg, really takes the biscuit. And then sets the biscuit on fire. You might have pulled an all-nighter or missed deadlines this term, but at least you didn’t (100% soberly) sell your soul to Lucifer in exchange for powers which you then wasted on pranking people. That may seem a flippant way of looking at Marlowe’s masterpiece, but this all-female production revels in all the

By Joe McNeice It seems that in recent times, contemporary plays by young writers have regularly occupied The Barn’s weekend slots. Whilst there is a lot of merit in seeing current texts performed with the youthful charge of university students taking on these roles, the change in tempo offered up by Playhouse Creatures, an historical comedy by April de Angelis and this weekend’s DramaSoc production, was a rare treat that far too seldom gets a look-in. It might be true that a

York Settlement Community Players’ production of Bluestockings, by Jessica Swale, tackles the issue of women’s right to education in a play that by turns feels uplifting, challenging and deeply shocking. It focuses on four young women who have been admitted to Girton College, Cambridge, and their struggles to gain acceptance and academic recognition from both the University and from their fellow students. Director Maggie Smales has put together a smart and compact production,