Gloriously surreal monologue about everyday anxieties in extraordinary circumstances: welcome back the glittering dark!
Meet Red Peter, the character at the heart of the award-nominated Camden Fringe Festival hit, which returns to London for a March run at the VAULT Festival. Time to book your tickets!
Grid Theatre’s acclaimed staging of Red Peter, an award-nominated hit at the 2019 Camden Fringe Festival, will head back to the capital later this spring for a short run at the VAULT Festival. Book your tickets now
Baby Reindeer at the Bush Theatre, stand-up comedian Richard Gadd’s provocative one-man show about a stalker and complicit victimhood, is darkly exciting.
“They are good people, despite everything that happened…” Have a sneak peek at what to expect from Red Peter, Grid Theatre’s adaptation of Kafka’s A Report to an Academy at Camden Fringe, then book your tickets.
Grid Theatre shines a spotlight on ideas of civilisation and humanity with Red Peter, the stage adaptation of Franz Kafka’s A Report To An Academy, which runs as part of Camden Fringe next month. Book your tickets now!
Atiha Sen Gupta’s Abi, a 60-minute monologue, performed with enormous zest and attractive energy by Safiyya Ingar, is a response to Mike Leigh’s play Abigail’s Party and looks at what happened to a couple of his peripheral characters.
This West End revival of smart monologue about drug dealing on the Dark Web is well written if a bit slight.
Hennessy is a strong writer, it would be difficult to ruin her work. In Lucy Jane Atkinson’s vision of A Hundred Words For Snow, it is a lot more scaled back than at the Arcola and I found this to be a positive.
Naomi Sheldon’s monologue Good Girl makes its way to West End after Fringe runs at the Old Red Lion and Vault Festival. It is an exceptional piece of work that has not only made me consider the power of monologue but what it feels like to be a woman.
Watching Angry makes you feel as if you’ve downed several super-alcoholic drinks — and then rushed out into the freezing cold night, under the cold unfeeling stars. Yes, welcome to Ridleyland, a place of precarious uncertainty, full of comic missteps and grotesquerie.
With its almost unbearable ending, Dennis Kelly’s play is a wonderful mix of hilarity and horror. Carey Mulligan is simply brilliant, totally at home on stage in Lyndsey Turner’s well-paced, absorbing and finally utterly compelling production.
Lanie Robertson’s 2005 bio-monologue about Peggy Guggenheim could be just another ‘poor rich girl’ tale, but in Guggenheim and in the performance from Judy Rosenblatt we see not only a tale of a woman who singlehandedly ensured modern art survived but also changed the way people looked at how art should be.
Brill! Lively, but also occasionally moving, account of growing up while your Mum becomes a cult member.
Bye, bye UK City of Culture, this monologue is about the Hull that celebrations have forgotten.
New two-hander is a highly stylised account of a positively Ballardian reality: contemporary nihilism rules.
New play about participation and democracy is entertaining enough, but a bit too tricksy and too so-what-ish?