Tunnel 228 isn't meant to be found (i.e. stumbled upon at random); you're meant to find it (i.e. actively seek it out).
Part 1 of a two-part retrospective article on Shunt’s production of Amato Saltone.
What do Punchdrunk's Tunnel 228 and Tim Crouch's England have in common? They rethink the relationship between artwork and gallery space through interdisciplinary performance.
The machine is the undisputed star of the production, which, after a few deliberately confusing false-starts, eventually reveals itself as a parable about the dangers of stock market speculation.
It's fascinating when the real world comes into the theatre. But to what degree can you make it come in realistically?
The conversations around Money started before Easter last year, so before Northern Rock, but after the Enron scandal.
The Forest Fringe is set to challenge every convention in sight, from the role of the audience right up to what we can comfortably classify as theatre.
In the final 15 minutes, The Author is revealed for what it has really been all along: a daring act of self-flagellation by Crouch on behalf of provocative art and controversial artists.
Wondermart continues Rotozaza's work with audio-instructed performance and develops the site-specific element introduced in Etiquette.
David Leveaux’s production dazzles, but is to be commended for not being content with that alone – it preserves the heart of Stoppard’s play.