Kathryn O’Reilly’s second play Poisoned Polluted focuses on the fragmenting relationship between two women – in this case, sisters.
On Bear Ridge, Ed Thomas’ story of being left behind and trying to hold onto the memories that give us a sense of self, is crafted at the Royal Court Theatre with care and sensitivity.
While the descent into a kind of collective insanity may seem strange in lieu of a plot in Annie Baker’s Antipodes at the National Theatre, as with all her work you find your thoughts returning to it again and again once the curtain comes down.
There’s a lot to process in For All the Women Who Thought They Were Mad, and it requires active listening and embracing the unfamiliar, but it is visually striking, intimate and reflective.
Based on a true story, Kate Barton’s play Fast invites its audience into the disturbing world of “Dr” Linda Hazzard (Caroline Lawrie), whose controversial fasting diet method claimed the lives of multiple patients in the early 20th century.
Before Jonathan Larson’s iconic musical Rent took the world by storm, there was the autobiographical show, Tick, Tick…Boom!
Relatively obscure British crime writer Ethel Lina White’s greatest legacy is her 1936 novel, The Wheel Spins – two years after publication, Alfred Hitchcock directed the film The Lady Vanishes, widely regarded as one of British cinema’s greatest works, based on her book.
Tom Lenk is Trash is trash. That’s not even a cruel review, it’s literally what he told me to say. And after seeing the show, I am not going to be so stupid as to say anything he doesn’t want me to.
Our Walk Through the World is a collection of six sharply written, short plays by Ross Howard that highlight some of the absurdities of modern life.
Mary Jane Figtree’s play is based on the concept of an Italian 90s play called Orgasmo e Pregiudizio. With this, her first play, she has written something that succeeds in being both funny yet emotionally resonant.
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
Brighton Fringe hit The Geminus has sailed the high seas from the south coast to London for the Camden Fringe, and they have the wind in their sales with some fantastic reviews. Take a look at what’s been said, and at the new production images from its London run, then book your tickets!
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
At last, someone has laid the sugary ghost of Elaine Paige. Jamie Lloyd’s stripped-back Evita at the Open Air Theatre in Regent’s Park has all the metallic modernity of their Jesus Christ Superstar.
One test of biography jukebox musicals is how much an uninitiated audience member ends up learning about the artist through the course of the show.
Just as much as the emotional impact, though, it’s the unique and original approach to the subject matter that makes this debut production from Turn Point Theatre particularly memorable.
One thing I’m really loving about the Camden Fringe is the breadth of creativity and experimentation. Scenic Reality is a prime example of a fresh piece of new writing that explores different storytelling techniques.
Guided by a web app, participants have 80 minutes to earn as much money as possible by answering cryptic puzzles. They must choose what equipment to spend their cash on before returning to the meeting place.
With plenty to say about the shallow foundations of political leaders hiding behind their PR machines, Jamie Lloyd’s triumphant Evita is raw, fresh and intense – “oh what a show!”
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.