This year I have the great privilege of getting to cover lots of the Camden Fringe shows, my only regret is that I can’t see them all (literally impossible, so many shows running, Londoners check it out, it is a treasure trove of varied goodies).
Following an award-nominated run at the Brighton Fringe earlier this year, Blue Devil Productions’ dark romance The Geminus comes to London’s Tristan Bates Theatre as part of the Camden Fringe 2019. Book you tickets now!
Class, a play from Ireland co-written and directed by Iseult Golden and David Horan, is set around a teacher-parent meeting in a Dublin primary school.
Love London Love Culture rounds up the reviews for Iseult Golden and David Horan’s play Class at the Bush Theatre until 1 June 2019.
Class at the Bush Theatre layers marital tensions with social class tensions and the pressures of being a teacher and learning.
Bye, bye UK City of Culture, this monologue is about the Hull that celebrations have forgotten.
George Bernard Shaw was a theatrical superman. A critical attack dog as well as a creator of problem plays both pleasant and unpleasant, he invented the drama of ideas.
This spirited, age-blind revival at the Park Theatre of Denise Deegan’s 1983 girls’ boarding school classic is a bit too boisterous for its own good.
This site-specific version is a bit of a gimmick, and while one part of me yearns for the play to be allowed to speak for itself, another just relishes the novelty of this revival’s setting. So what’s the verdict? Guilty of being a good night out.
Albion begins with Audrey, played with indefatigable energy by Victoria Hamilton, in the garden of her deceased uncle’s family home, deep in the English countryside. She has bought the property, which boasts a historic 1920s garden, now much overgrown, which a First World War veteran once formed into a pastoral paradise fit for heroes.
Owen fields three characters: Paul, smarmy son of an industrialist, has invented a game, Killology, in which players torture their victims. Sounds gross enough, but Paul has given it an extra dimension: you score more points depending on how creative you are in your torturing.
Updating the classics is not without its pitfalls. How can a modern audience, which has a completely different set of religious beliefs, relate to a 17th-century morality tale in which the lead character behaves badly, and I mean really badly, but gets his comeuppance by being roasted in hell fire?
Run the Beast Down, which runs in rep with Carmen Nasr’s Dubailand. Run the Beast Down is a solo show in which actor Ben Aldridge performs a 90-minute monologue about Charlie, a young man who is in bad trouble.
Why is comedy, in the words of the cliché, such a serious business? One reason is that what we laugh at says a lot about who we are as a nation; another is that the simple “joy of laughter” drowns out the anxieties of life’s little, and not so little, agonies.
New play about a young working-class woman’s experiences in 1960s London is small, but inspirational.
New drama about a desperate single mother is powerfully written and raises some disturbing issues.
Howard Brenton’s new study of desert warrior T E Lawrence is more like a frustrating mirage than a nourishing oasis.
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