London has an abundance of pub theatres, and the Old Red Lion in Islington is one of my favourites. The space is tiny with pew-like seating on two sides of the tea-tray sized stage.
All By Myself is a production by Part of the Main theatre company for Applecart Arts and it explores identity during the Covid crisis when your only connection to the outside world is via the internet.
The coronavirus pandemic and lockdown has thrown a whole new light on certain plays, the ones about isolation, loneliness and surreal landscapes.
Not to let a decade of theatre bloggery go by without marking the occasion, to kick things off, I’ve compiled a list of my favourite play for each year I’ve been blogging. It has been fun revisiting my best-of lists but absolute agony narrowing each list down to just one.
Creation Theatre this month invited audiences to watch an interactive, virtual version of Shakespeare’s The Tempest – from the safety of their sofa.
Given everything that is going on in the world politically and environmentally You Stupid Darkness! feels like it has captured the mood, the battle to stay cheerful and hopeful when everything feels like it is falling apart.
Andrew Finnigan, Lydia Larson, Andy Rush and Jenni Maitland in You Stupid Darkne…
Lullabies For the Lost is one of two plays by Rosalind Blessed about mental health that are being performed in rep at the Old Red Lion.
Land Without Dreams at the Gate Theatre is a surreal, existential meta ‘drama’ created by Danish company Fix & Foxy.
Queens of Sheba is a play of contrasts it is angry and joyous, fun and sad, quietly contemplative and in your face loud.
Black Chiffon is an interesting play, slowly building enough psychological intrigue and drama to keep you hooked.
Harriet Madeley’s The Colours is a verbatim play based on interviews with people with life-limiting illnesses and those working in palliative care.
The Actor’s Nightmare is six short plays, linked by themes of acting, theatre and performance and brought together for the first time at the Park Theatre.
London’s theatre scene is awash with productions which offer a ‘fresh’ take on classics but Jasmine Lee-Jones’ play Seven Methods of Killing Kylie Jenner demonstrates exactly what really ‘fresh’ theatre is – and should be.
Dark Sublime is a long play and while it contains some really good material it would benefit from being trimmed back to make it slicker and more focused.
Actress and writer Tuyen Do’s first full length play Summer Rolls brings a story about a British Vietnamese family to a UK stage for the first time.
In the same way that the Marvel Universe mixes superpowers with mortal flaws, the scope of The Half God of Rainfall stretches to another galaxy but all the time remains profoundly human.
In Wow Everything is Amazing, Sounds Like Chaos imagines the digital world 50 years in the future, presenting the vision as a pseudo-church service where citizens worship at the altar of the internet.
Tom Coash’s play is inspired by his time living in Egypt and learning of how a gay man had been arrested and tortured by police.
Following a five-star run at the Traverse Theatre, Fringe First winner Kieran Hurley brings Mouthpiece to Soho Theatre next month. Here he talks about the play, the point of theatre and making it more inclusive.
Jean Anouilh’s The Orchestra is an interesting snapshot of a period of social history that is often overlooked.
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