Party Skills for the End of the World, Shoreditch Town Hall

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by Laura Kressly

A make-your-own martini and a raffle for a gorilla novelty teapot is a great way to start a show. A massive game of musical chairs is a great way to continue it. And a fair of DIY, crafts and skills workshops is a blinding way to end it.

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Napoleon Disrobed, Arcola Theatre

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by Laura Kressly

What would happen if Napoleon didn’t die on Saint Helena? What if he managed to not be imprisoned at all? This amusing Monty Python-esque, revisionist history suggests that with his doppelganger in exile, Napoleon tries to regain power in Belgium but is thwarted by supporter disbelief, poverty and the love of a melon seller. The comedy is punchy but the story is sparse, making for a joyful but baffling show.

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Breakfast, VAULT Festival

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by guest critic Lara Alier

Visual poetry, movement and live music. Words that float and linger in the air like these two performers in the space.

Marah Stafford and Nicolas Hart perform a physical theatre piece devised from the poems of Jacques Prévert. The whole show is accompanied by Ben Murray on the accordion and piano.

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Margaret Thatcher Queen of Soho, VAULT Festival

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by guest critic Gregory Forrest

The night before Parliament votes on Section 28, an amendment to the Local Government Act which prevents schools or similar local authorities from promoting homosexuality, Magaret Thatcher finds herself in a Soho nightclub. This is the fabulous premise to the now iconic drag cabaret: Margaret Thatcher, Queen of Soho.

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Consumables, VAULT Festival

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by guest critic Gregory Forrest

A young drug-addicted porn star is looking for someone to kill and eat him. A clean-freak older man is looking for a good, tasty fantasy. So what happens to the carving knife? It’s a strong set up, and when cannibalistic fetishism is first introduced to Consumables – effectively delayed in Matthew Kyne Baskott’s’s script – the topic undoubtedly sticks in your throat.

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Elsa, VAULT Festival

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by an anonymous guest critic

Isobel Rogers delivers a spectacular one-woman performance, collating humorous millennial moments and sharing them in a unique musical format. As the show opens Rogers takes on the persona of ‘Elsa’, a bored, overqualified waitress who is dreaming of a life beyond her bill-paying day job, where she can actually do the career which she has a degree in. This is certainly a scenario most of the creative audience can relate to.

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