Exit Productions has hit upon a novel way for ‘the general punters’/Londoners to speculate and experience what it would be like to run a coup d’etat and take charge of London in Revolution at The Vaults.
Mates blogger: Michael Davis
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The beginning of the play is immediately evocative of John Masefield’s The Box of Delights and Susan Hill’s The Woman in Black, with Sylvia having an eerie and memorable train journey.
It’s always been an ‘open secret’ that the ‘perfect family Christmas’ doesn’t exist and that in a post-letter society, writing about ‘picture-perfect’ lives has been superseded by the advent of social media (especially with the posting of children on Facebook!).
ackling everything from class, race, gender, mental health and LGBT issues, the new writing nights arranged by Actor Awareness have been productive in terms of quality and quantity.
Directed by Alice Hamilton, Thirty Christmases brings the external peculiarities of the holiday season to the fore, plus the bittersweet nature of spending time with family at the close of the year.
Peter Pan has been long been a Yuletide favourite, but ever since its inception, the original production with its emphasis on the Darling family and flying has dominated the show’s focus. Until now.
Focusing on three black inmates in Winson Green Prison, Shadows addresses the potentially sensitive subject of black identity in the 21st century and how ‘cultural heritage’ can be a double-edged sword.
As plays go, Jean Genet’s The Balcony is brimming with metacritical ideas – a fusion of Brechtian intent with a Gallic sensibility. Directed by Velenzia Spearpoint, The Balcony is set in an unspecified town during a revolution, where most of the action takes place in a brothel.
Collating the most scathing reviews in their respective careers, theatremakers Zoe Coombs Marr, Ursula Martinez and Adrienne Truscott fashion these into a postmodern show that deconstructs the deconstruction of theatre.
Directed by Audrey Sheffield, The Dark Room is a play that doesn’t like to disclose all its secrets at once. Just as one adjusts to the absence of light over time, so the essence of Angela Betzien’s play becomes clearer the deeper it goes.
Taking inspiration from Laurel Thatcher Ulrich’s quote that “Well-behaved women seldom make history,” theatre group Glass Splinters have recently devoted an evening to nine monologues about women of historical significance.
As for the musical numbers, they come when least expected, but when they do, they are are poignant and offer a brief time for reflection amidst the anecdotes, dancing and comedy.
The play subliminally hints at the insuperable attraction between men and women, that no conditioning can overcome. The non-verbal lure of the masculine ‘other’ calls to the women.
Even though officially the oppressive Soviet regime ended at the end of 1992, under Vladimir Putin’s leadership the practises of the KGB era still endure and in terms of the sorts of civil rights enjoyed in the West, little has changed from the Soviet years.
Phoenix Rising isn’t your average play. Written by Andrew Day and directed by Maggie Norris, it takes place in an underground car park beneath Smithfield meat market and uses the whole area to tell its story.
Marking their third anniversary, the Bread & Roses Theatre in Clapham is currently running a poignant play that takes a familiar issue and turns it on its head. Written by Phil Charles and directed Tessa Hart, The Black Eye Club focuses on a women’s refuge and the course of events over one night.
Given a non-custodial sentence, 17-year-old Becca (Holly Donovan) has to spend to her community service cleaning in a hospice. Initially getting off on the wrong foot, Becca ends up striking up a friendship with the reclusive Anna (Clare Corbett) who is receiving end-of-life care.
Marking the inaugural show at the Playground Theatre in west London, Picasso by Terry d’Alfonso takes place in the Afterlife, where the artist is met by three of the many women in his life.
Absurdist: Like a Lynchian movie, Gregg Masuak’s Flycatcher doesn’t spoonfeed answers, but it gives its audience plenty to think about.
Captain Agnes Bennett (Safron Beck) is very efficient at her job. As a Army Notification Officer, it is her duty to personally meet with relatives whose family have died while in active service of the Armed Forces.
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