45 North’s audio play series Written On The Waves kicked off Season 2 with a trilogy Lifted a couple of weeks ago. This has swiftly been followed by a second play from one of the same writers and as it was reasonably brief I also thought I would go back to one of the pieces from Season 1 that I had yet to get round to reviewing.
While The Cloak Of Visibility from The Space may not particularly break any new ground thematically or stylistically it is a solid enough piece which plays well and will give pause for thought.
Following a rather busy week there was only time yesterday to dip a toe into the waters at the Brighton Fringe (see what I did there?). Quite by chance I came across a pair of short solo plays which dealt with the same subject but did so from quite different perspectives; the subject in question being male mental health.
45 North’s second series of Written On The Waves has opened with a trio of short plays under the collective title of Lifted. They are performed by the writers themselves who are all relatively new voices.
Noga Flaishon’s immersively creepy piece Broken Link for Harpy Productions uses Zoom and other modern tech to generally good effect to tell what is, essentially, a good old fashioned ghost story.
Touching The Void is a very fine production to revive and John Chapman is glad to have finally caught up with this thrillingly staged real life story of facing mortality and winning.
Quite apart from its quirky title, A Brief List Of Everyone Who Died, what immediately strikes the viewer is the elegance of the structure of this piece from American writer Jacob Marx Rice.
One of the first to hit the airwaves is Love In The Lockdown by Clare Norburn featuring the music of medieval music ensemble The Telling.
Justin McDevitt’s plays for Severed Heads deal with forms of obsession and angst in which someone loses their head – often literally.
This is a timely revival of Herding Cats from the Soho Theatre who have pushed back the barriers to find another new way to innovate.
Prompted by the recent retirement of their artistic director – the visionary Lou Stein – I decided to opt for Chickenshed’s latest to video release Rapunzel which turned out to be one of the first shows that Lou wrote and directed at the venue himself and thus the release of the production neatly bookends his time there.
Verbatim testimony from New York health workers in The Line demonstrates the problems faced are universal.
With some subtle Hitchcock references and more than a hint of Sam Shephard about it, Rocky Road, like its confectionery counterpart, is a sweet moreish treat with some hidden surprises.
Folk by Nell Leyshon tells the true story of Cecil Sharp, the musicologist and collector of English folk music at the turn of the 20th century who was responsible for kick starting the revival of interest in traditional songs.
Two intricately constructed online pieces from Chronic Insanity push at the current boundary definitions of theatre.
Sometimes good things DO come in small packages – a pair of mini musicals, Suddenly and Cells, make a pleasurable watch.
A Killer Party is a camp musical comedy murder mystery based around the world of showbiz – what’s not to like?
For The Secret Connection Dr Will Houstoun has taken his act online and threaded together various tricks and illusions to baffle and delight.
Philip Ridley’s Tarantula is another stunning showcase for a young actor who commands the stage and leaves the viewer exhausted – in a good way.
The practice of “greenwashing” is examined in Money, a pertinent interactive drama from new company represent.