Temi Wilkey has written a brilliant first play, which grabs you even though you’ve probably seen many of the components of The High Table before.
A Christmas Carol with a supporting cast of 200? A Christmas Carol with four alternating casts of 200, involving as many in making Christmas as possible, with the maximum social benefit? I can’t think of anything more in the spirit of Dickens, or of Christmas.
Motherlode has been touring this short four-hander, written and directed by Rachael Boulton, round venues in Wales for its premiere. It’s London’s luck that it has rocked up at the Finborough Theatre next.
There’s a tantalising idea at the heart of this Love, Genius & A Walk. What did Sigmund Freud and Gustav Mahler discuss on their only meeting, a walk in Leiden in 1910, fairly shortly before Mahler died?
I loved this one. Siobhan Macmillan’s one-woman show Mirrors uses a modern fairytale to bring a series of women vividly to life in a rich, action-packed hour of fantastical theatre.
Ian Grant’s new play is on an old theme: the impact of war(s) on families. Or is it the impact of love on relationships? Either way, After the Ball goes out of its way to show impact echoing down the generations.
Catherine Lucie’s’s new play – The Moor at the Red Lion Theatre – pulls off the excellent trick, of giving the audience a denouement that resolves the mystery, while still maintaining the possibility that something much weirder is afoot.
A world of potential conflict here, and the casting works well. At times the production does engage deeply, particularly in the bruising encounter of all three together for the first time in seven years.
We are promised a “choreography with words”, dozens of mini-scenes showing different experiences in making that one step, across a border, taken from myriad film and TV, familiar and unknown.
Finborough Theatre, London – until 30 September 2017 Guest reviewer: Melinda Haunton The signs are excellent when you enter the Finborough’s latest set. It’s instantly, vividly a cramped, tatty copy shop, with a cheap metal door, and cluttered counter face-on to the single bank of audience seats. Small touches succeed in expanding the space and creating the atmosphere: pigeon-holes of …