You only find round beds with pink satin sheets in particular places or owned by particular people. But it’s safe to say that a woman wearing a full, fur-suited mouse costume complete with face/head mask is not one of these.
It has been three weeks since I left the bubble that is Edinburgh Festival Fringe 2017 to return to the much larger bubble that is London. And ironically, the manic, fast-paced lifestyle of living in the capital is a relaxing break from the utter madness that was Edinburgh for the month of August.
The music they listen to, and that which seeps from them with aching melancholy, is by Bob Dylan – written decades after the Great Depression ended. Combined with Conor McPherson’s earthy, Celtic script of imagery-laden prose, Girl From the North Country is not a musical.
James and Daniel are chalk and cheese, and very much in love. The unemployed photographer and Canary Wharf stockbroker are adorably domestic, but both are hiding secrets. When James’ uni mate and ex-girlfriend Olivia vengefully reveals one of them, this irrevocably opens the floodgates to the rest.
Originally a novel by Emma Donoghue that swept up the award nominations last year after being made into a film, Room is now a play. Adapted by the writer for the stage, it stays true to the original story of a young woman abducted at 19 and imprisoned as a sex slave.
As you’d expect from the playwright who wrote Visitors (2014) and Eventide (2015), this new one is an ideal studio piece, in which it is important to hear every word and intonation, and see even the smallest gesture.