Holly O'Mahony

Read our review of for colored girls who have considered suicide / when the rainbow is enuf review: rare revival of Ntozake Shange’s sharply observed choreopoem is infused with passionate defiance

Read our review of Holy Fool at Park Theatre, London: An assiduous if sentimental look at the pressures Shostakovich faced, composing in Soviet Russia

Read our review of Electra/Persona Starring Cate Blanchett and Nina Hoss at the National Theatre: slickly staged, but clinically intellectual

Read our review of Midnight at the Never Get at the Menier Chocolate Factory: Broadway’s Ben Platt stars in a musical soaked in tears and stained in longing

Read our review of Firebird at Southwark Playhouse Borough: Marlie Haco’s revival of Phil Davies’ thriller about grooming, starring Taqi Nazeer and Mollie Milne, finds fresh relevance

Read our review of Brassed Off at Leeds Playhouse: well-loved story of music and miners rings out as passionately as ever

Read our review of Wife to James Whelan at the Jermyn Street Theatre: sensitive revival of Teresa Deevy’s neglected portrait of regret in small-town Ireland

The gender imbalance backstage is a long way from fixed, but women who have smashed the glass ceiling tell Holly O’Mahony that they are optimistic for the sector’s future

Read our review of Love Omar at Theatro Technis: Hannah Khalil’s tense backstage drama spotlighting Omar Sharif’s stint at Chichester Festival Theatre stars Al Nedjari and Lara Sawalha

Read our review of The Wasp at Southwark Playhouse, London: stilted revival of Morgan Lloyd Malcolm’s revenge thriller struggles to gain momentum