This Stylish thriller, from Rusted Dust, isn’t so much a whodunit but whydunnit. When the body of a young woman is found on the train tracks of a Northern town in post-war Britain…
Mates blogger: Shanine Salmon
Shanine Salmon is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features Shanine's posts on MyTheatreMates. Take a look at our full list of theatre bloggers and our aggregated feed of all our Mates' posts. We’re always looking for new theatre bloggers. Could that be you? Learn about how to join us.
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Ionesco’s work finds the absurd in the mundane and highlights it. This dinner party with no dinner (but generous and replenished helpings of wine) certainly fit the bill.
There’s intimate, then there’s The Hope Theatre. With a capacity of just 50 seats, the audience at this small North London venue find themselves physically emerged in whichever narrative is unfolding before them.
Puppy is the story of lesbianism, feminism and porn in a patriarchal world. Naomi Westerman’s piece, produced by Little But Fierce, is unashamedly open about sex and sexuality.
The play adapts Jenet’s The Maids as it takes the obsession with a rich employer to an obsession with celebrity, which is relevant at a time where it feels like we know a celebrity’s every move.
“Lizzie Borden took an axe, gave her father forty whacks. When she saw what she had done, gave her father forty-one.” These words, taken from a popular folk rhyme, are the first that we hear in Lizzie.
Whilst I am not the biggest dance fan (I went to a Great Gatsby ballet once though and I LOVED Some Like It Hip Hop) I am a bit of politics geek and End of Dance seemed like it was going to be a damning satire on governments sadly didn’t live up to its potential.
Toby Boutall’s play recreates this psychic prison with such fidelity that one can almost touch the walls and smell the faeces smeared thereon.
Naomi Westerman’s one-woman play looks at life after being kidnapped and held captive, not only whether you can live a fully normal life but the world’s expectations and preconceptions about what happens and who it happens to.
If the material in Robyn Paterson’s one-woman play feels quaint, then her performance is anything but. It’s an impressive act of virtuosity and memory that flits between each half of a pensionable South African couple, showcasing great dexterity and timing.
Does Adam Scott-Rowley need to be naked for the duration of this absurdist monologue, as he shapeshifts between comic grotesques for a state of the nation dickaround? Is it a patron baiting gimmick or redundant, like my man gland?
The main issue I had with Summer Nights in Space was how incomplete and earnest it felt. It fails to generate laughs and is too lo-fi to become a camp classic, a la Rocky Horror Show.
‘Wheel of Fortune’ gimmick and great performances distract the audience from the pedestrian storylines. This play must have been bold and daring in its 1920 premiere but for a 21st century audience it fails to shock.
Blackeyed Theatre’s production strips away any added features from adapted movies, shows and other projects about Victor Frankenstein and simply tells the tale as Mary Shelly originally wrote.
Denzel Washington stars in and directs the film adaptation, bringing with him the majority of the theatrical cast of the 2010 New York production.
Shunning chemotherapy for Rioja and her beloved Brahms for endless TV boxsets, Hester (Bridget Forsyth) is a woman ageing disgracefully.
Theatre Bench’s production of Patrick Cash’s HIV Monologues is a sensitive and very modern look at attitudes to HIV, not only in the LGBT community but across society.
Throughout the night, the famous story of The Great Gatsby is told. However, how you see the tale is entirely up to you.
Hyper-conceptual fringe theatre can be a fascinating brand of performance art, filled with new ideas that push boundaries and challenge our notions of what theatre can be. Yet, sometimes it also deserves a big dose of ridicule.
Which mammal makes the creepiest sound? If you guessed the fox, you’d be right. Playwright Titas Halder seems to have picked the perfect animal to represent his protagonist’s psychological struggle.
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