The camera can take you to places where the naked eye rarely goes. Like close. Very close. Close up. And then some. This is exemplified by Fraser Watson’s brilliant filming of The Separation, a 17-minute short written by Dan Horrigan and Haven Taranta.
Uncertainty can sometimes provoke creativity. When the opening of Shereen Roushbaiani’s one-woman show, Saving Britney, at the Old Red Lion theatre was cancelled in January, its creators David Shopland and Roushbaiani, put together this online performance as a kind of taster for the live show, which now opens in May.
Mark Ravenhill’s new play Angela is a fragmentary sonic autobiography, both tender and occasionally fraught.
This film version of the Oscar Wilde classic The Picture of Dorian Gray is a brilliant critique of the digital age.
The Band Played On, the latest show from Chris Bush, is a tuneful celebration of stoicism, resilience and humour.
Typical, a film version of a powerfully poetic and painful 2019 monologue about institutional racism, is brilliant.
The latest example of this problematic switch from stage to screen is the strongly acted Shook, Samuel Bailey’s debut play, which won the 2019 Papatango New Writing Prize and had a run at the Southwark Playhouse in November of that year.
Yesterday I watched Skye Hallam’s excellent one-woman show, Heads or Tails, one of the headline acts at the new Living Record Festival. It’s a gently confessional monologue about the afterlife spoken by 25-year-old Steph, who has – as they say – been “taken too soon”.
I watched the streamed version of December, written and directed by Alexander Knott, and performed in the Old Red Lion Theatre and pub.
With S-27, the Finborough once again punches well above its weight, making another compelling contribution to the brave new world of streamed theatre.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
Travis Alabanza’s play Overflow at the Bush Theatre is both tender in its empathy for the different kinds of trans experience and passionately angry about prejudice.
Misfits, from the Queen’s Theatre Hornchurch, comprises four excellent fractured monologues, written by Kenny Emson, Sadie Hasler, Guleraana Mir and Anne Odeke, which focus on Essex,
There’s plenty to enjoy in Little Wars’ jokes, and then, later on, the final harrowing monologues about the genocide are both powerful and deeply moving.
Originally commissioned as part of The Power Plays produced by Theatre Uncut in 2018, A Coin in Someone Else’s Pocket is a wonderfully thoughtful meditation on what it means to be a female Muslim writer.
Theatre is just different organisms in close proximity. It’s a great image, and one of many that float gently to the surface in Ben Duke’s In a Nutshell, a monologue which explores with a marvellously tentative touch the nature of theatre, meaning theatre as it was until the pandemic struck.
This is a masterly revival of An Evening with an Immigrant, Inua Ellams’ 2016 autobiographical one-man show which is both poetic and engaging.
Although I have visited Brick Lane a number of times over the years, much of We Are Shadows: Brick Lane this was refreshingly new to me and the adventure was a delightful experience.
Simon Stephens and Juliet Stevenson create a perfectly beautiful and haunting installation for our times in The Blindness at the Donmar Warehouse.
The bright colours of the performance underline the surrealism of Scrounger’s quest for justice, and Athena Stevens, the first actor in a wheelchair nominated for an Offie, performs her story brilliantly.