Garry is a play that deserves to be staged again, and to be considered part of the canon of gay plays. Its homophobia and self-repression are a hard watch and could certainly be triggering for some, but it’s a searing look at the consequences of oppression and discrimination.
Does My Bomb Look Big In This? points out that in a world where sensationalist headlines are brandished as political weapons, it is easy to forget that behind them, there are real people who are just as often victims of powerful, discriminatory systems as they are perpetrators of other systems’ ideologies.
they have made a noticeable effort to share the experiences of many, to both hilarious and humbling effect in word, movement and dance.
To see Andy Bell as Torsten in Queereteria TV, relatively up close, in the flesh, was for me a piece of pop history, big deal again, nostalgia.
Despite a three-hour running time, this production of The Crucible is pacy and tense enough to be completely enthralling. Thanks to the power of the play itself, some interesting creative decisions and brilliant performances, as a whole the show is utterly bewitching.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Despite Wolfie at Theatre503 being the first play from Ross Willis and certainly not a flawless one, it demonstrates a laudable ambition and sense of scale.
Estelle Savasta’s story of motherhood, unconditional love and the refugees’ perilous journey in Going Through is elevated and mythologised, brought dreamily to life in a highly visual and engaging production with BSL and excellent projections.
Lou and Jaz have met on Tinder and are going on a date. A simple premise, but in its use of different narratives, Greyscale highlights the complexities of relationships, sexual power and personal communication.
Ed MacArthur and Jeremy Legat are exceptional in all the roles they take on in Murder For Two. Both pianists and triple threats, they charm their way through the story that tries so hard for laughs
Bury the Dead by Irwin Shaw paints a reality where soldiers refuse to be buried by standing up from their graves. Since soldiers, especially in WWI, were treated like currency the concept gives room to play with politics, economics and social changes.
A masterclass in one-woman storytelling, Pickle Jar is delicately told in the intimate setting upstairs in Soho Theatre.
Forgotten at the ArcolaTheatre is a considered story serving an important function on the British stage, but the scope of this history is too big for the current length and structure.
Scott Alan is a long-standing cult favourite amongst musical theatre enthusiasts and his most recent song cycle The Distance You Have Come weaves in his most popular numbers with some newer ones.
I’m a sucker for inventive adaptations of Shakespeare plays, so Paper Cinema’s Macbeth, a live-action, silent movie version, is hugely appealing.
Adam Kashmiry is a man that was born in Egypt in a woman’s body. From a young age, he knew his soul didn’t align with the gender he was assigned at birth, but it wasn’t until he discovered the internet as a teenager that he found a word for this.
Wasted at the Southwark Playhouse is an explosion of feminist energy, a dark and angsty account of the lives of the four most famous Brontë siblings.
Using the word ‘strong’ to describe women and girls is redundant. Putting up with all the trash that women have to deal with as a result of their gender, on top of everything else life throws at them, makes them strong by default.
“We’re not here for your pleasure.” “Consent is hot.” The Fringe Wives Club need some merch with these slogans on. Glittery Clittery has everything you need for a cult feminist disco, plus a labia costume.
There are great intentions at work here, but the initial concept is flawed – ultimately it undermines the power that the internet and technology gives to the alt-right.