Theatre needs more bisexual stories and with further development, Somewhere To Belong at the Lion and Unicorn Theatre could go a long way in improving representation.
Definitely a bold valley to travel down, Friends fans should explore Friend (The One With Gunther), a nugget of not-so-guilty pleasure watching.
This digital production of The Money (written by Isla van Tricht and directed by Guy Woolf), is really well done. It’s slick, with an excellent script and fantastic actors.
With S-27, the Finborough once again punches well above its weight, making another compelling contribution to the brave new world of streamed theatre.
Despite the show only having a week’s run and now closed due to London’s descent into Tier 3, Frostbite: Who Pinched my Muff? deserves recognition.
Fanny & Stella is a funny, bawdy, light-hearted musical that provides a very welcome distraction from the seriousness of the world.
If you can afford your own private performance, Bard in the Yard is a wonderful, gentle re-introduction to live theatre and a reminder of why we love it so much.
A rediscovered Edwardian problem play gives a clear picture of marriage and morals in a bygone era.
‘It feels to me like, with The Great Gatsby, we had an opportunity, and resulting from that a duty, to use the show to work out some of the key things that might help the industry as a whole.’
Head of theatre and artist development at Brixton House (formally Ovalhouse*) Owen Calvert-Lyons talks about life during the lockdown, the post-Covid future for fringe theatre and streaming.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
I, Malvolio is Tim Crouch’s retelling of Shakespeare’s Twelfth Night through the eyes of the blighted and picked-upon puritan, Malvolio. It’s the fourth time Crouch has written such an adaptation, which he hopes will “unlock Shakespeare for young audiences”.
Visit Bethlehem is a short, sharp, site-specific show which imaginatively blends fun into a personal tale about the brutal reality of living under military occupation.
As a child of an immigrant mother, the double-bill is Lòng Mẹ like a beloved jumper that’s scratchy but warm, you embrace the small pains because the comfort and love is so much stronger.
Breffni Holahan delivers Margaret Perry’s script for Collapsible with an unrelenting energy that starts high and reaches stratospheric levels.
Dad’s Army Radio Show is every bit as quaint as Godfrey’s sister’s cucumber sandwiches and every bit as cosy and comfortable as one of Pike’s scarves.
Through movement, moments of perfect clowning, and almost-unending feasting, the Drop Dead Gorgeous ensemble transpose the female experience and made it a tangible thing that you feel you could physically wrestle with.
Push is a one-woman show centred on one woman’s story, and its sense of universality will be welcome to those who experience the pressure to have, or not have, children.
If a piercing performance of the mind is something you are after, you will not be disappointed with VOiD at the Vault Festival, London.
Whilst the script for Faces In The Crowd demands unwavering focus and attention in order to not get lost, women’s individuality, voice and their suppression by patriarchal systems are profoundly resonant.