Oily Cart, the creators of All Wrapped Up, makes gently immersive, highly sensory performances for people under five years old, and people with complex needs.
‘Some genuinely disturbing moments’: FIX – Pleasance Theatre
Despite the issues, the script’s range of influences and forms, combined with great performances, result in a generally strong production of Fix at the Pleasance Theatre.
‘Energetic & engaging’: ONCE – Touring
The melancholic, Irish music performed by actor-musicians and the almost-love story set Once apart from the bold, brash showiness of musicals that stick more closely to traditional forms.
‘An excellent debut play brought flawlessly to life’: I WANNA BE YOURS – Bush Theatre
I Wanna Be Yours at the Bush Theatre speaks to younger and older people navigating an unjust world, and reminds the privileged among us of the constant learning we have to do.
‘A powerful comment on the flimsy whims of political allegiance’: UBU!: A SINGALONG SATIRE – Touring
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.
‘Work that is socially & politically vital’: POST POPULAR – Soho Theatre
Comedy and vulgarity join forces as Lucy McCormick chronicles history’s strong women in Post Popular at the Soho Theatre.
‘Has a sensorial richness’: MIDNIGHT MOVIE – Royal Court Theatre
Stories swirl around each other in Midnight Movie at the Royal Court, growing and fading like variations on a theme in a piece of classical music. It’s heady and disorientating, like a surreal bad dream, yet strangely compelling.
‘Much too tidy for the text’: DIRTY CRUSTY – The Yard
There is a disconnect between the direction and the script that permeates this production of Dirty Crusty at The Yard Theatre.
‘Moving & disturbing’: ON BEAR RIDGE – Royal Court Theatre
On Bear Ridge, Ed Thomas’ story of being left behind and trying to hold onto the memories that give us a sense of self, is crafted at the Royal Court Theatre with care and sensitivity.
‘Performances are emotionally engaging & vulnerable’: For All the Women Who Thought They Were Mad – Stoke Newington Town Hall
There’s a lot to process in For All the Women Who Thought They Were Mad, and it requires active listening and embracing the unfamiliar, but it is visually striking, intimate and reflective.
Best of the Blogs: The Mates give their verdicts on Noises Off, Translations, [Blank], The Girl Who Fell, Tickle The Musical & more
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 20 October 2019), ranging from Olivia Mitchell’s thigh-slapping joy on seeing Noises Off to Libby Purves’ plea that we listen to the story being told in [Blank] at the Donmar Warehouse.
‘It’s all rather existential’: THE ICE CREAM BOYS – Jermyn Street Theatre
The Ice Cream Boys is an informative glimpse into South African politics and racial issues but it’s not clear what message the audience is meant to take away.
‘Disturbingly prescient & vibrantly staged’: MEPHISTO [A RHAPSODY] – Gate Theatre
Combined with the big questions it raises on compromising one’s beliefs, Mephisto [A Rhapsody] confronts classism, racism and lack of political action in the UK today, both in the arts and within the privileged but apathetic public.
‘Vulnerable & celebratory performance’: WE DIG – Ovalhouse
Seeing a group of trans and non-binary people claim space like this in We Dig at Ovalhouse and openly share and reflect on the lives of trans people past and present is beautiful and important.
‘Excellent, moving piece of theatre’: TICK, TICK… BOOM! – Bridge House Theatre
Before Jonathan Larson’s iconic musical Rent took the world by storm, there was the autobiographical show, Tick, Tick…Boom!
‘Use of the grotesque & social critique is highly sophisticated’: GLASS. KILL. BLUEBEARD. IMP – Royal Court Theatre
As a body of work, Caryl Churchill’s four plays Glass. Kill. Bluebeard. Imp complement each other well and offer a bold social commentary that is dark, foreboding and surreal.
‘Vital & vibrant contribution to contemporary theatre’: CHIAROSCURO – Bush Theatre
Chiaroscuro is a relevant, moving production, addressing issues of sexuality and identity & focusing on characters that are often left out of theatrical narratives. It is a vital and vibrant contribution to contemporary theatre.
‘The nasty aftertaste negates the positives’: BIG THE MUSICAL – West End
Though the design is superb, the kids are both adorable and excellent performers, and McGuiness’s work is solid, the appalling storyline of Big and its tone-deafness can get in the bin.
‘It shows its age’: FAME THE MUSICAL – West End
“Fame!” – we all know the infamous song. The lyrics, “I’m gonna live forever, I’m gonna learn how to fly, HIGH” are not well known just because of the original 1980 film, but because of the subsequent television series, film remake and musicals that followed.
‘Powerful play’: JADE CITY – Bunker Theatre
Jade City is a powerful play confronting the consequences of the UK’s lack of social mobility and opportunity.