To all the artistic directors out there, let’s have more plays like S-27 at the Finborough Theatre that have something to say about the world today.
Originally performed in Edinburgh in 2019, Caroline Horton’s All Of Me returns in two different formats – as an interactive digital version hosted on gaming platform Twine and as an audio version on Soundcloud. This particular review focuses on the audio incarnation of the show in November.
While the play addresses the hopes and fears of those seeking to escape destitution (and achieve a better life), much like the fairy tale it mimics, Caperucita through its choreography and poetic use of language evokes a Lorca-esque quality to the proceedings.
The Absence of Silence is a frank examination of the impact of long-term physical and emotional abuse on women in relationships.
Rather than veer down the road trod by films such as I, Daniel Blake, People Show’s Last Day addresses the ‘inconvenience’ of having a conscience if one is in middle management and the choices that one has to live with… or not.
In OPEN Ealing’s Love Screens – three short plays that are written by Nicolas Ridley and directed by Anthony Shrubsall – relationships are placed under the microscope: those that have run their course, those that have remained in a state of inertia and those that may blossom, given the right circumstances.
Combining music and choreography with the spoken word, Don’t Stop Thinking About Tomorrow is thoughtful in its conception and ambitious in its scope, looking at the ‘bigger picture’.
The second entry in Alchemist Theatre’s ‘Writers On Hold’ series, Blue Beneath My Skin continues to explore the themes of racial identity and femininity.
While Ibsen’s A Doll’s House is arguably the first and most famous ‘modern’ play about female emancipation from an inequitable marriage, it’s certainly not the only drama to tackle this once-controversial topic.
As an artist, Ian Dury is unique in the annals of British rock music. Contracting polio at the age of seven (which resulted in the paralysis of his left leg, shoulder and arm), Dury didn’t let this stop him from becoming an accomplished musician.
During lockdown, Glass Half Full Theatre have produced a series of monologues that depict women from different walks of life.
While world history is ‘officially’ about facts, in reality, it is an amalgamation of thousands of experiences into one coherent narrative.
If one were to peruse social media as this time of ‘social distancing’, one thread that surfaces periodically is how hard it is for single people who have no human contact. There is, however, something more hellish – recently splitting up.
A young man whose life was cut short by the First World War, Charles’ poems marked him out of as one the pre-eminent wordsmiths of his time.
History shows that right up to the 20th century, women were ‘sectioned’ on all sorts of non-medical pretexts.
Far from being just a niche tale about familial connections, the play’s intersectionality provides greater depth in the questions and answers it broaches.
The Cutting Edge passes on the message that art in all its forms is about the importance of the human experience, rather than an end in itself.
In Paul Minx’s play The Dog Walker (which is directed by Harry Burton) we meet two individuals who despite initial appearances, have deep-seated issues that manifest as ‘quirky’ behaviour.
In Flights, which is written by John O’Donovan and directed by Thomas Martin, a protracted period of grieving is examined for the first time, leading to an uncomfortable night of self-examination.
Responsibility to oneself and others permeates On McQuillan’s Hill, as does how isolation – real or imagined – affects one’s mental well-being.