Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
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.
The six shows at the Roundabout exemplify Paines Plough’s focus on excellent new writing that’s relevant and thematically diverse.
This intimate, personal production from Theatre Ad Infinitum is an accurate and emotionally charged snapshot of the pervasive conflict between capitalism and the desire for a family.
The sickly, yellow lights of a featureless meeting room are making Serge thirsty. He just wants some water, to tell his story and get back home to Streatham.
A second, transatlantic viewing proves just how thoroughly the production theatricalises addicts’ experiences in order to generate audience empathy with the struggle to overcome addiction.
Initially How to Disappear seems to be a new addition to the classic, British State-of- the-Nation plays in its searing critique of the government’s welfare policy. But Morna Pearson has great fun in turning the genre on its head.
Perhaps one of the biggest strengths of Fritz’s writing is his ambiguity and the fact that Parliament Square poses more questions than it answers. The stakes are high.
You have goat to be kidding me: the Royal Court’s latest experiment is a tonally-confused take on the Syrian conflict, fake news, and livestock management.
Whilst war rages in the Ukraine, a journalist goes to the front lines and falls in love. Girls sit on a park bench, waiting for their soldier boyfriends.
Think about your parents, or a parental figure. How have they impacted who you are now? Whether positive or negative some mark will inevitably and irrevocably remain.
Hear Me Raw was perhaps the poshest theatrical experience I have ever had (and that really is saying something). It was a glowing auditorium of bad hair, good genes, and plastic prosecco, followed by a swarm of supportive mums murmuring ‘Oh, isn’t she brave’.
You only find round beds with pink satin sheets in particular places or owned by particular people. But it’s safe to say that a woman wearing a full, fur-suited mouse costume complete with face/head mask is not one of these.
Imagine a world where our inner monologues are voiced at all times. Sure, it would make the world a much louder place and we’d probably always have sore throats. But think of the things we’d hear. The mundane, the extraordinary, the intimate
Can violent criminals be rehabilitated, and can their victims ever forgive them? The Listening Room says yes. This verbatim piece tells the stories of three violent crimes, primarily from the perspective of the perpetrators. Some character background sets the scene for climactic moments where they commit their offences, but at least half of each of […]
The performers are framed by a false, red curtained, proscenium arch that forms, like the show itself a facade: a description of something without being either of itself or the thing it describes. An hour and fifteen minutes runs with Robin Arthur and Cathy Naden taking turns to speak.
Issac is returning home after a three-year stint as a US marine where his job was to pick up body parts after front line attacks. He longs for the peace and quiet of his nuclear family and the familiarity of middle America so he can make peace with the demons of war.
Sion Daniel Young is Davey, a fifteen-year-old tearaway who roams the streets looking for trouble. A traumatic incident several years before, severe poverty and a well-intentioned but clueless mum means he channels his anger into violent bullying.
Ex-IRA member Quinn Carney and his family have gathered to bring in the harvest. The celebration stretches back centuries and brings the extended family together, so Quinn’s house is crowded. Along with his wife Mary and their 7 children, his brother Seamus’ wife Caitlin and her son Oisin have lived with them for the past 10 years since Seamus disappeared.
Whatever your thoughts are about the inevitable march towards death, The Lounge is likely to touch on them in some way or another. Set in the lounge of a care home with characters ranging from residents to staff to hapless visitors, this three-hander is a funny and moving overview of attitudes.