This digital production of The Money (written by Isla van Tricht and directed by Guy Woolf), is really well done. It’s slick, with an excellent script and fantastic actors.
Despite the show only having a week’s run and now closed due to London’s descent into Tier 3, Frostbite: Who Pinched my Muff? deserves recognition.
If you can afford your own private performance, Bard in the Yard is a wonderful, gentle re-introduction to live theatre and a reminder of why we love it so much.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
I, Malvolio is Tim Crouch’s retelling of Shakespeare’s Twelfth Night through the eyes of the blighted and picked-upon puritan, Malvolio. It’s the fourth time Crouch has written such an adaptation, which he hopes will “unlock Shakespeare for young audiences”.
Kieran Hurley explores free speech and the nature of online debate in Bubble.
Visit Bethlehem is a short, sharp, site-specific show which imaginatively blends fun into a personal tale about the brutal reality of living under military occupation.
As a child of an immigrant mother, the double-bill is Lòng Mẹ like a beloved jumper that’s scratchy but warm, you embrace the small pains because the comfort and love is so much stronger.
Writer Gillian Greer confidently addresses nuances and problems around sex and consent in Meat at Theatre 503 and director Lucy Jane Atkinson ensures tensions consistently run high.
This is certainly something different to the majority of the festival’s shows: rather than a traditional show, it is a scavenger hunt/immersive promenade show, put on by established company Fire Hazard Games.
Breffni Holahan delivers Margaret Perry’s script for Collapsible with an unrelenting energy that starts high and reaches stratospheric levels.
Dad’s Army Radio Show is every bit as quaint as Godfrey’s sister’s cucumber sandwiches and every bit as cosy and comfortable as one of Pike’s scarves.
Jodie Irvine poignantly uses a great deal of humour to address the social awkwardness and loneliness of 21st-century living in Gobby.
Through movement, moments of perfect clowning, and almost-unending feasting, the Drop Dead Gorgeous ensemble transpose the female experience and made it a tangible thing that you feel you could physically wrestle with.
Push is a one-woman show centred on one woman’s story, and its sense of universality will be welcome to those who experience the pressure to have, or not have, children.
If a piercing performance of the mind is something you are after, you will not be disappointed with VOiD at the Vault Festival, London.
Full Disclosure has created an ensemble piece in Body Talk that weaves the characters’ lives together with the sensitivity and playfulness that these subjects require.
Amantha Edmead is a marvel to watch in Sold, a piece that embraces it all, packing this story of family separation, numerous masters & a quest for freedom into an hour.
Female friendship is such a fickle, flighty thing so difficult to get right, and Miriam Battye nails both its positives and negatives in Scenes With Girls.
Whilst the script for Faces In The Crowd demands unwavering focus and attention in order to not get lost, women’s individuality, voice and their suppression by patriarchal systems are profoundly resonant.