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?
Owen fields three characters: Paul, smarmy son of an industrialist, has invented a game, Killology, in which players torture their victims. Sounds gross enough, but Paul has given it an extra dimension: you score more points depending on how creative you are in your torturing.
It is a very out of sorts piece. Strengths, weaknesses, timelines and locations are all explored by this one character in 80 minutes.
Metalmouth Theatre’s monologue is very hot take on being a woman, a feminist and wondering if there is more to life. Alex Critoph plays a young woman hiding from the world.
The production’s prologue of shuffling music is a glimpse into the format of this play. We rarely stay in one place long, whether it is Katie telling us about her parents’ erratic relationship or her own erratic relationship with older and sullen Abe.
One of the reasons that Philip Ridley is the crown prince of imaginative playwriting is that he came at theatre from leftfield. In the 1980s, he didn’t go to drama school — he went to art college instead. This freed his mind from following established theatre conventions, and so anything was possible.
Latest trio of monologues from Philip Ridley are performed in the dark: both chilling and humorous.
Run the Beast Down, which runs in rep with Carmen Nasr’s Dubailand. Run the Beast Down is a solo show in which actor Ben Aldridge performs a 90-minute monologue about Charlie, a young man who is in bad trouble.
Phoebe Waller-Bridge’s television hit returns to the stage, still rocking with laughter and coolness.