Devised by the original company, this Bristol Old Vic and National co-pro has little technically wrong with it – it captures Jane’s spirit reasonably well, using physical theatre to cut through the dense length of the novel.
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 […]
Inspired by the humour and spontaneity that comes from cold reading, Nassim Soleimanpour has developed what has become his trademark style of reflective, personal writing performed by an actor who knows nothing of the play.
You’re fast asleep in your bed, in a small English town. Then some mysterious noises outside wake you, and on looking out your window you discover a gang of pirates is trying to steal your family home.
The show revolves around three couples; central are husband and wife Steven and Amelia, whose clashes over television choices mask deeper communication problems in their relationship. Amelia is a Kardashian fanatic and composer Steven loves Mozart, dismissing his lawyer wife’s obsession.
Theatre can plumb the depths of despair. It can elevate human glory and achievement. It can stir the heart and still the soul. Or it can throw a fabulous party on a rocket ship full of bearded drag queens in sequinned thongs.
Unfortunately, it’s a pretty terrible piece of theatre. The primarily verbatim script is the worst of racist Brexit voters pontificating on political issues interspersed with extracts of speeches by the likes of Michael Gove, Boris, David Cameron and Nigel Farage.
I Hear You And Rejoice is a tribute to the power of the single storyteller. Lighting, costume and staging are simple, revealing the power of the skilled actor. The result is a joyful play full of sentimentality that is also hugely funny.
Originally from Quebec, Flip FabriQue deliver Attrape Moi; meaning Catch Me; in London as part of an international tour to Tenerife, Edinburgh, the USA and Quebec Canada. For seventy-five minutes, performers Christophe Hamel, Bruno Gagnon, Hugo Ouellet Côté, Jérémie Arsenault, Camila Comin and Yann Leblanc, showcase a range of skills that are, (if a little tenuously at times), threaded together by a loose theme of travelling with friends.
Scarlet and Olive were left behind when the evacuation transport left their town without them. A dust storm has rendered their home a foreign landscape. They have five days until the transport will return to collect any stragglers, and news is due over the radio at any time between now the then.
Coulrophobia – Two Clowns Trapped In A Cardboard World is performed by Dik Downey (company director) and Adam Blake. The tragic twosome pull out a series of cardboard puppets as they frolic about a set full, but not quite full enough, of cardboard boxes.
Nick Cassenbaum grew up in London’s Jewish community and experienced all the cultural mores that go with it – Spurs games, dubious summer camps, trips to Israel and discovering his willy isn’t like the other boys’ at school.
A self-described modern rep company, Merely Theatre is addressing Shakespeare’s gender problem with 50/50 casting. Five male/female pairs each learn a set of characters in two plays, then on the night it’s decided who will perform.
Short and sweet, this half hour lunchtime show feeds feisty and giggly kiddies with a banquet of characters performing a range of tricks. A bearded ring master charms a female acrobat snake out of a trunk, and two musicians run around in monkey and pyjama costumes as their underage audience scream and shout at them.
Luke Wright’s jovial demeanour and impressive word hoard sit at odds with his smudged eyeliner and black leather jacket. The unassuming performance poet skulks to the mic, breathes, then unleashes a torrent of verbal acrobatics snapshotting British everymen and women.
Hartleby, Ooglemore and Jeramee are at the beach. It’s a beautiful, sunny day and the three are having a grand time, even though they can only use three words. The beach is full of potential for adventures – some happy, same scary, some frustrating.
You could easily classify this production as “the one with the robot” but there is more to Spillikin, currently on tour throughout the UK. Despite the high level of artificial intelligence on show, this is a human story depicting the world of a woman going through Alzheimer’s.
Shows incorporating technology have become more and more common recently. This experimental show, Celebration, Florida, features two unrehearsed performers wearing headphones.
Tristan is the stuff of Cornish legends. The Robin Hood-esque figure who lives along the Helford River gives much needed gifts to local people the moment they reach utter despair – or so people believe.
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.