If We Got Some More Cocaine I Could Show You How I Love You at The Vaults, on the other hand, is an excellent example of theatre which explores gay love and queer identity from an unfamiliar and powerful perspective.
AI Love You, part of the Vault Festival, holds up a mirror to the technological challenges facing society in a way similar to the Netflix hit series Black Mirror and asks the question: “Is this what is to come?”
Catherine Lucie’s play The Moor is performed in a murder mystery style as we try to figure out, along with the central character, what exactly happened on the night of a party where a potential lover has disappeared.
Like many recent Medea revivals, Pecho Mama has tried to make the audience understand Medea’s actions, but here, like with others, they fail in articulating this huge moment in the play. There is real promise in much of the show’s material though.
Gundog at the Royal Court Theatre joins other plays in recent years about farming and rural life, standing out in its bleakness, thematic complexity and disarming poetry. This small play has the epic roar of modern canon.
Stephanie Jacob’s new play Again at the Trafalgar Studios could be a traditional comedy-drama about the trials and tribulations of a family, but the writer employs a clever dramaturgical device as well as using flashbacks in order to tell this story of a family of four.
All Good Artists Are Dead returns with its second show as a collective: Joy is a wide-ranging and stretchy exploration of diaspora and sex. Dina Gordon performs as Joy, a woman who contains multitudes.