The full programme is now announced for VAULT Festival 2022, which returns to London from 25 January to 20 March 2022 for its tenth anniversary.
After its Covid cancellations for the past two years, the annual VAULT Festival has announced it will return to its Waterloo home in the new year. Celebrating its 10th anniversary, the 2022 event, produced by VAULT Creative Arts, will run from Tuesday 25 January to Sunday 20 March.
Halloween season is once more upon us and the London Horror Festival has plenty of macabre productions to satisfy the most dedicated aficionado. One show that stands out from the rest online is Blind by Ryots Productions.
A fun-filled hour of horror-themed musical theatre numbers comes wonderfully unstuck as its creator can’t bring herself to share the spotlight with the other cast members.
Maximus Polling reprises his titular performance as the ever-youthful Dorian in Blue Devil Theatre’s award-winning adaptation, transferring to Drayton Arms Theatre from 19 October.
The Tragedy of Dorian Gray, Ross Dinwiddy’s acclaimed 1960s-set reimagining of Oscar Wilde’s classic tale, transfers to London next month after its OffFest Award-winning success at this year’s Brighton Fringe.
Garry Roost’s play Warhol: Bullet Karma focuses on the events around his shooting by Valerie Solanas (this ground was covered from a more feminist perspective in Femme Fatale).
Arthur Smith pays homage to his (extra) ordinary Dad in Syd which premiered at 2018’s Fringe and is now an online show recorded at Falmouth and being streamed via the Pleasance.
Lost in Love is a new play presented by Flow Stage Productions. A brash and funny lady, Emily (Rachel Pryde) has something to tell about her life and the men in it.
What does it mean to have “It All?” I am not sure the answer to that question can ever be answered as it means something different to everyone. Cameron Cook raises this point several times throughout his debut solo show It All.
Bette Davis Ain’t For Sissies (the title refers to a Davis quote of some years later about old age) references the women’s lot in the Golden Age of Hollywood – exploitative auditions, unequal pay (a topic still current in movies in the 21st century), a string of love affairs, the expectation to look ‘just so’.
Till Love Do Us Part isn’t one of the flashiest productions on the digital fringe in terms of its technical style, but the writing carries it through.
Over on the ZOOTV platform at the Edinburgh Festival Fringe, you’ll find Planet of the Grapes, a delicious livestream performed live in New York City. I’m told that on Sunday the city was being battered by a hurricane, but it didn’t seem to cast a shadow on the show.
Dante Gabriel Rossetti’s raunchy, eccentric and outrageous sex life has been written and brought to the stage by writer and director Joan Greening in Rossetti’s Women.
A warm and entertaining solo play, Lila Clements’ Look, No Hands has some distinctive features which marks it out from many other confessional shows of a similar type.
Written and performed by Rachel E. Thorn, Lovefool makes nostalgia a fun treat for those who can take hints involving pop music lyrics and a magazine’s cringe sections. If that’s you, this show will tell you what you want, what you really really want.
The atmospheric setting for 1902 has been set in a disused arches space in an industrial area of Leith. It’s a bit off the Fringe beaten track but I can assure you it’s well worth the trip.
Welcome to the Madhouse, a place of chaos and confusion, typical of student house-sharing. A group of six friends gives a bittersweet glimpse of early adulthood, a path as messy as the kitchen table around which they party, study, and share their stories.
Nuworks Theatre, from Australia, bring their lively and passionate musical (written, directed and designed by David Dunn, with choreography by Meg Dunn) about the fight for women’s suffrage to the Edinburgh Festival Fringe, and Suffragettes is an impressive addition to the work around this topic (see also, Sylvia, a musical WIP which ran at the Old Vic a few years ago).
Packed with expletives and off-colour observations, Afterparty from New Celts Productions and F-Bomb Theatre at theSpace’s Triplex theatre pulls no punches in its humorous but bitter-sweet story set in small town Scotland.