Perfect Show for Rachel, Barbican Theatre

by Laura Kressly

Inclusion and engagement are a core part of Zoo Co, a theatre company of disabled and non-disabled artists that intrinsically embeds access in their work. This does does the same thing, though Artistic Director Flo O’Mahony takes a different approach to accessibility in this production. Inspired by her learning disabled sister Rachel’s joy in telling people what to do, this show is just for Rachel.

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Pinocchio, Unicorn Theatre

by Laura Kressly

As autumn turns into winter and Christmas approaches, the lonely toymaker Geppetto pleads with the blue moon gleaming over his village in the Italian alps, to make him a father. Luckily, the Blue Fairy hears him and brings to life the boy-sized puppet born from Geppetto’s despair. Her gift comes with a condition, however; The wooden child Pinocchio must learn how to be good by Christmas. If he doesn’t – and Geppetto fails at parenting – then he turns back into a toy. Like the iconic Disney film, many hair-raising adventures ensue, portrayed by the fantastic cast of five.

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My Lover Was a Salmon in the Climate Apocalypse, Cockpit Theatre

by Diana Miranda

“This gig gets weird”, announces Bradán Theatre in their publicity blurb. And weird it gets as it tackles the climate crisis through an absurdist script infused with Irish mythology and folk music, presenting a majestic salmon as an icon of environmental awareness, and veering from metaphors to literal meaning in quite a jarring spin.

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Super High Resolution, Soho Theatre

by Luisa De la Concha Montes

CW: suicide

Turning to medical settings for drama is not a new endeavour. With long-running series like ER and Grey’s Anatomy, the plot of Super High Resolution might sound overdone in the first instance. However, contrary to TV blockbusters, Nathan Ellis’ new play utilises simplicity to defy expectations and tackle the elephant in the room: the collapse of the NHS.

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Evening Conversations, Soho Theatre

by Laura Kressly

Sudha Buchar has had an extraordinary career as an actor, writer and producer. Other parts of her life are equally exciting – born in Tanzania to Indian parents, her early childhood was spent between East Africa and Asia before moving to the UK at age 11. Now 60 years old and long-settled in middle-class Wimbledon with a husband and two Gen-Z sons, she reflects on a vast range of topics in her stream-of-conscious monologue. Generational differences, race, feminism, and her neighbours are just a few of these that make up this chatty and reflective staged reading.

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That’s Not My Name, Bread & Roses Theatre

By Luisa De la Concha Montes

Described as a “an internal stream of consciousness and sketch comedy” That’s Not My Name, written and performed by Sammy Trotman, is a one-woman show that explores the absurdity of psychiatry. Through a direct and satirical exploration of her own experience of psychiatric wards, diagnosis and stigma, Sammy skilfully navigates the stage and eases the audience into an unconventional take on mental health.

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The Shadow Whose Prey the Hunter Becomes, Battersea Arts Centre

By Romy Foster

Framed by the lens of the intrusive and boundary-breaking rise of artificial intelligence, The Shadow Whose Prey Becomes the Hunter by Back to Back Theatre serves as a wake-up call on how non-disabled people alienate people who have what are referred to in Australia as ‘intellectual disabilities’. (Australia and the UK have very different language for disability. In Australia ‘people with intellectual disabilities’ is considered polite. This is the language used the show.)

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Wipe These Tears, Camden People’s Theatre

by Laura Kressly

Operation Desert Storm. An English primary school. Guantanamo Bay. The Green Zone. A village in Afghanistan. These are some of the places where writer Sînziana Cojocărescu situates individual stories of colonisation and oppression. Informed by interviews with over 90 people involved in or survivors of war and conflict, as well as activists and researchers, the resulting collage of violence forces audiences to reckon with white western imperialism.

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Only an Octave Apart, Wilton’s Music Hall

by Zahid Fayyaz

This show comes straight from New York to one of the world’s oldest surviving music halls in East London. It is a very classy and entertaining tour de force. The concept is a simple one – that a cabaret artist and an opera performer, Justin Vivian Bond and Anthony Roth Costanzo, join forces to sing songs from their respective fields. The message is despite being from different disciplines they have a lot of similarities, except for being one octave apart.

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