Find out what critics have been saying about The Gunpowder Plot Experience at Tower Vaults, the new immersive experience bringing the history of the Gunpowder Plot to life.
Someone Else’s Shoes, the Traverse’s immersive online presentation conceived and directed by Hannah Price, is a thought-provoking and wistful evocation of Edinburgh without its festivals.
Kieran Hurley explores free speech and the nature of online debate in Bubble.
Theatre Uncut’s Bubble, a streamed film about social media and the woke generation is educational, but unexceptional.
Sarah Rutherford’s new play The Girl Who Fell, about teenage death, mourning, coincidence and healing, is sensitive and heartfelt.
Writer Sarah Rutherford cleverly weaves together disparate elements of a sensitive story with subtlety and humour in The Girl Who Fell.
Trafalgar Studios, London – until 23 November 2019 We can only judge the dead through the narratives of others. When those narratives contain a level of both culpability and finger-pointing, who are we to believe? And should it matter when the dead girl at the heart of their concerns is a 15-year-old who committed suicide by jumping from a road …
I feel like I’ve known writer Sarah Rutherford for years… that’s one of the positives of social media. (We follow each other on Twitter.) The irony is it’s her new play, The Girl Who Fell, about some of the negatives of social media that finally precipitated my meeting her in person.
The aftermath of a teenager’s death really shouldn’t be this funny, but Sarah Rutherford has created a thoroughly modern, soul-searching and hilarious play.
The Girl Who Fell, directed by Hannah Price, is about grief, guilt, childhood innocence, love, pain, agony, truth and facing the truth and with all those ingredients you get a poignant and quite moving performance.
Sarah Rutherford’s powerful and honest play The Girl Who Fell examines grief, mental health and the influence of social media in a brilliantly sensitive way.
Offering two hours of compelling and arguably unmissable theatre combining humour and cliche together with many unpalatable home truths, End of the Pier is one of the most stimulating new plays this year.
Overall, End of the Pier is a sharply observant play that is transformed into a compelling production that makes the audience sit up and pay attention.
‘This is essentially a play about family. It is about how family underlines everything we do. We all have family in one form or another.’
Jukebox musicals are fine in their place, movie adaptations likewise are ever increasingly the norm, but they need love and inspiration to elevate them.
Footloose as an individual track is a tune I have been familiar with and known the words to since I can remember. Footloose as a show with a full range of foot-tapping musical numbers (which I could now listen to on repeat) I was not at all familiar with, however the incarnation of the show which is currently playing at Coventry Belgrade Theatre, is now rooted as a firm favourite.
Run the Beast Down, which runs in rep with Carmen Nasr’s Dubailand. Run the Beast Down is a solo show in which actor Ben Aldridge performs a 90-minute monologue about Charlie, a young man who is in bad trouble.
The Finborough Theatre’s new Spring Season features three rediscoveries from Arthur Miller, BS Johnson and Victorian theatrical revolutionary T. W. Robertson, and three brand new plays including Carmen Nasr’s Dubailand.
Sell a Door Theatre company bring high energy to the stage with the invitation to cut loose with Footloose. But while there’s energy aplenty, don’t expect it to bring the Bacon.