Families separated by war and conflict have kept in touch one way or another for time immemorial. Recently giving way to skype, texts and emails, letter writing is now largely neglected – but surviving relics betray heartache, fear and longing.
Stage version of dystopian classic returns — it’s lively and fun, but also cartoon-like and unmoving.
What follows is nearly an hour of tremendous fun in the most ridiculous, discombobulating but ultimately touching and life affirming way possible. The show is built around an interview by a mysterious person called Ian and his feelings on the 1990s Acid House Movement.
Alison Mead’s Politic Man chronicles the lives of Alfred and Ada Salter, an activist and political couple living and working in the Bermondsey slums of the early 1900s – I’d never encounrtered these remarkable people before. Avowed socialists committed to improving the lives of the city’s poor, Alfred moved from medicine into politics so he could help more people.
Short and sweet, classic and comical. Thomas Monckton performs a solo piece glued to his spot, centre stage beneath a low hanging lamp, which obscures his body from the shoulders up for at least half of the work. Only Bones is a classic example of body manipulation that playfully explores all the possibilities that a clown can find and make with only his body, one square metre of space, and one light.
German physical theatre company Teatro Delusio perform a silent comedy accompanied by an array of canonical scores from ballet to opera to a bit of pop. The international show that crosses language barriers through visual tableaus and expressive physicality of character is formed by a series of vignettes starring stock characters.
Sideshow/cabaret Dr Carnesky’s Incredible Bleeding Woman is a wonderfully quirky manifestation of sisterhood, womanhood and the wonders of the female body.
Natalie Casey made her name on TV shows including teen soap Hollyoaks and sitcom Two Pints of Lager and a Packet of Crisps, but on stage is where you’re more likely to find her these days. No stranger to the Playhouse, she returns this week as part of the formidable ensemble cast of Things I […]
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Elizabeth has two daughters. Her youngest is “fine”. Her eldest has profound hearing loss. This diagnosis, in our able-bodied world with all its bias and privilege for those that are “normal”, is a hard one to take.
RashDash are angry. Like, fucking furious level of angry. They’re fed up of patriarchal language and gender stereotypes that limit both men and women from expressing themselves honestly
Shakespeare without words. What’s left? In Ludens Ensemble’s Macbeth: without words, plenty. Drawing on the aesthetic of silent films and Victorian gothic with the near-constant use of live sound mixing, a trio of performers playing all roles conveys the story effectively through movement and subtitles.
When fourteen-year-old boy Red starts at a new school after his parents’ divorce, his mum anxiously worries about him making friends. Soon, his mobile is constantly buzzing with texts and he’s out most evenings.
On 1 September 2004, a group of terrorists stormed a school in Beslan, holding over a thousand people hostage on the first day back after summer holidays. Most of them were children. When the siege ended three days later, over 300 people were dead.
The North American Free Trade Agreement (NAFTA) between Canada, the US and Mexico came into effect on 1 January, 1994. I was eleven years old. The agreement ushered in a degree of national prosperity for all three countries.
A cultural relic of its time, the bible is hardly pro-women. Lucy McCormick, here incarnated as one of those vapid pop stars who evangelically (and often inappropriately) rallies for the cause they’re currently backing, wants to turn the spotlight on the new testament’s women.
I was gutted when I found out Janet Adler and Margaret Gibb aren’t real. The portrait Tim Crouch paints of this fictional couple and their anti-capitalist approach to their art, in striking contrast to a deranged Method actor and her coach making a film about Adler’s life, is so well-formed that they feel that that they can’t not be real.
The self-deprecating, all-female company of players from Baltimore boot that myth out of the theatre with relish. Having learnt 45 scenes, speeches and moments from Shakespeare’s cannon, they promise to perform 30 of them in 60 minutes or else one of the actors gets a pie in the face.
Author Hector Hugh Munro, otherwise known as Saki, is in WWI’s trenches. He and his men been out there for nearly a year, and they are long fed up with life on the front. To entertain his fellow troops, he tells the stories that have already made him a well-known writer.
Whilst there’s plenty of Shakespeare at the fringe, it doesn’t get much coverage. It’s understandable – the Bard doesn’t count as a potential Next Big Thing, and he’s favoured by student and international groups that usually have short runs and are deemed less worthy of critical attention.
Charlotte Josephine’s BLUSH tells the stories of five unrelated individuals effected by revenge porn, trolling and the proliferation of easily accessible online pornography