A “hero’s” greatest possession isn’t whether they can fly or have a utility belt. It is their ability to chose, their ability to know – regardless of their misgivings – what needs to be done.
Imagine a domestic black comedy written by Martin McDonagh. It’s a bit of an over-simplification, but that’s kind of the flavour of Erica Murray’s debut play The Cat’s Mother at The Vaults.
Thinking about this most well-received of plays, it is the role of Aunt Maggie Faraway who lingers most in my mind, the elegiac beauty of her speeches an elegant way of folding in traditions of Irish storytelling and emphasising the deep bonds of family.
Even with the best of intentions, it can be a little too easy to forget that there’s more to LGBT+ than just the G. Representations of gay men are increasingly common in our theatres but pickings are slim if we look towards the lesbian, bi, and transgender characters and stories.
“If music be the food of love, play on” and certainly the production of Shakespeare’s Twelfth Night at Manchester’s Royal Exchange is full of music, mirth and mischief, particularly during one particular night of mayhem.
PLAY – The Subterranean Season takes in plays 23-26 in their ever-growing programme of short plays, devised in just two weeks by a collaboration of writers, directors and actors up for the challenge of creating something sparklingly, spankingly, brand new and fresh.
Established now as one of the major arts festivals in London, VAULT Festival returns from 25 January to 5 March 2017 at its original home beneath Waterloo Station and, for the first time, at satellite venues Network Theatre and Morley College.