In Tegan McLeod’s play Lunatic 19’s, which is directed by Jonathan Martin, we meet a young woman of Hispanic descent who happens to be at the ‘wrong place at the wrong time’.
Written by Anthony Neilson – himself a theatrical bête noire in terms of his fearless probing at the underbelly of sexuality – and directed by Imogen Beech, The Censor is as much a ‘battle’ as a dialogue of between ideologies regarding the nature of sex itself.
Written by Tuyen Do and directed by Kristine Landon-Smith, Summer Rolls focuses on an ‘invisible’ demographic – the Anglo-Vietnamese.
Theatre company Smoking Apples has since its inception used puppets and physical theatre to create imaginative labours of love. In Flux, we meet Kate, a 30-something physicist in 1984, working on energy yields of radioactive elements and isotopes.
Written and performed by Apphia Campbell, Woke connects the experiences of the civil rights movement in the 1960s-70s with events of the present day.
Written by Simon Stephens and directed by Scott Le Crass, Country Music examines the life of a young offender over a span of 17 years.
Carrying on a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (2-9 June 2019). Amidst her top choices are Maryam Philpott’s journey back to a time of political optimism in The Wardrobe Ensemble’s Education, Education, Education at Trafalgar Studios.
Written by Bim Adewunmi and directed by Femi Elufowoju Jr, Hoard takes the familiar scenario of the introduction of ‘the boyfriend’ to kin, but bringing the focus firmly on family dynamics.
Written in 1886, Henrik Ibsen’s play Rosmersholm has a new-found poignancy in today’s political climate.
Bella Heesom explores the subliminal messages that girls assimilate from a young age in Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself at Ovalhouse.