The fourth and final Cultural Recovery Fund funded show from production company Seabright has been, like its predecessors, filmed at Wilton’s Music Hall before a live audience and is being streamed via stream.theatre. This is Mark Farrelly’s homage to wilful eccentricity and outré lifestyle Quentin Crisp: Naked Hope.
The piece in question is Alan Ayckbourn’s The Girl Next Door which harks back to earlier plays such as Whenever, Miss Yesterday, Surprises and especially Communicating Doors in its central conceit of time travel.
Footprints Festival at Jermyn Street celebrates female empowerment
While The Cloak Of Visibility from The Space may not particularly break any new ground thematically or stylistically it is a solid enough piece which plays well and will give pause for thought.
Following a rather busy week there was only time yesterday to dip a toe into the waters at the Brighton Fringe (see what I did there?). Quite by chance I came across a pair of short solo plays which dealt with the same subject but did so from quite different perspectives; the subject in question being male mental health.
Touching The Void is a very fine production to revive and John Chapman is glad to have finally caught up with this thrillingly staged real life story of facing mortality and winning.
One of the first to hit the airwaves is Love In The Lockdown by Clare Norburn featuring the music of medieval music ensemble The Telling.
Justin McDevitt’s plays for Severed Heads deal with forms of obsession and angst in which someone loses their head – often literally.
This is a timely revival of Herding Cats from the Soho Theatre who have pushed back the barriers to find another new way to innovate.
Prompted by the recent retirement of their artistic director – the visionary Lou Stein – I decided to opt for Chickenshed’s latest to video release Rapunzel which turned out to be one of the first shows that Lou wrote and directed at the venue himself and thus the release of the production neatly bookends his time there.
Verbatim testimony from New York health workers in The Line demonstrates the problems faced are universal.
With some subtle Hitchcock references and more than a hint of Sam Shephard about it, Rocky Road, like its confectionery counterpart, is a sweet moreish treat with some hidden surprises.
Folk by Nell Leyshon tells the true story of Cecil Sharp, the musicologist and collector of English folk music at the turn of the 20th century who was responsible for kick starting the revival of interest in traditional songs.
Sometimes good things DO come in small packages – a pair of mini musicals, Suddenly and Cells, make a pleasurable watch.
A Killer Party is a camp musical comedy murder mystery based around the world of showbiz – what’s not to like?
For The Secret Connection Dr Will Houstoun has taken his act online and threaded together various tricks and illusions to baffle and delight.
Philip Ridley’s Tarantula is another stunning showcase for a young actor who commands the stage and leaves the viewer exhausted – in a good way.
The practice of “greenwashing” is examined in Money, a pertinent interactive drama from new company represent.
The vibrant culture of the Notting Hill Carnival is celebrated and examined in Yasmin Joseph’s play about three young women, J’Ouvert.
Adam by Frances Poet was originally commissioned by the National Theatre of Scotland and is now showing as part of the BBC Lights Up Festival.