Viper Squad writer James Dillon’s new show Siren takes the tropes of the sci-fi horror genre (there’s a heavy debt to Alien here) and throws the audience into the middle of the action.
The fourth and final Cultural Recovery Fund funded show from production company Seabright has been, like its predecessors, filmed at Wilton’s Music Hall before a live audience and is being streamed via stream.theatre. This is Mark Farrelly’s homage to wilful eccentricity and outré lifestyle Quentin Crisp: Naked Hope.
The first new piece for Queers references a moment in history while the second takes a broader more contemporary sweep of recent events but what unites them is that they present the experiences of wider elements of the LGBTQ+ community who also happen to be black; the original series was rather under representative in this area.
What makes Black Is The Color Of My Voice stand out from the crowd is Apphia Campbell’s performance which is multi-layered, dynamic and assured and, when she’s singing, spine-tingling.
Silent Uproar’s cabaret style show A Super Happy Story (About Feeling Super Sad) is a highly sensitive and nuanced performance which nails the debilitating effects of what is still a misunderstood condition.
The piece in question is Alan Ayckbourn’s The Girl Next Door which harks back to earlier plays such as Whenever, Miss Yesterday, Surprises and especially Communicating Doors in its central conceit of time travel.
The Finborough Theatre’s latest show to hit the ether is Leather which is now available on demand. It is a play which isn’t for the faint hearted and comes trailing clouds of notoriety as one of the first plays (if not THE very first) to highlight male rape, domestic violence and sado-masochism within the gay community.
Simply called Knot, this is a three-part play which requires the listener to be at a specified (though general) location at a certain time, then to connect to an app and let Darkfield do the rest.
Footprints Festival at Jermyn Street celebrates female empowerment
Ode To Joyce is an enjoyable 75 minute celebration of the wit and wisdom of a self-effacing performer who did much to pave the way for a later generation of women to seize the comic nettle.
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.
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.
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.
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.
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.
Two intricately constructed online pieces from Chronic Insanity push at the current boundary definitions of theatre.
A Killer Party is a camp musical comedy murder mystery based around the world of showbiz – what’s not to like?