Platform 4’s Invisible Music presents a beautiful and thought-provoking soundscape that is a wonderful manifestation of creativity in this period of isolation.
The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.
With the stalls audience standing and the performers clamouring through the crowd and onto the stage, Kneehigh’s staging of Ubu! evokes a gig, a party and a political rally all in one.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
“Revolution is action. Revolution is choice.” Discover how Mark and Marichka Marczyk took that spirit of revolution, and all that comes with it, and channeled it into creating VAULT Festival hits Counting Sheep and Balaklava Blues.
Balaklava Blues, a music and multimedia experience exploring post-traumatic stress and attempts to move forward, is playing alongside its immersive predecessor Counting Sheep at this year’s VAULT Festival. Both created by Mark and Marichka Marczyk, they run at Waterloo venue until 17 March 2019.
The Tradition versus Progress conflict sits along side the moral question of whether or not we should be perpetuating these attitudes in young children – who don’t know enough to see these problems – by continuing to tell these stories.
Combining their woman-led, political ethos with the use of live music, RashDash reclaims femininity and appropriates the traditionally patriarchal adventure of fairytales in this spirited show for all ages.
A dozen or so of us were led to the roof of the Royal Festival Hall where we were told to expect: ‘A multi-sensory encounter of shifting sound, colour and light, which reinvents the gig-going experience as a site-responsive close-up standing performance.’ Whatever that is.
Jim Walters is the first person sent to colonise Mars. But when a global apocalypse occurs, trapping him in the Earth’s orbit and running out of oxygen, he and his guitar are left to broadcast music to the devastation below. Can anyone hear him? Are there any survivors? Will he ever know?
Along with tickets, we are handed earplugs. Considering Christopher Brett Bailey’s first work This Is How We Die, I’m not surprised.