By Laura Kressly
A woman sits at a drawing table analysing jigsaw puzzle pieces under an anglepoise lamp. On the other side of the stage, another woman rhythmically bounces on a small trampoline. What starts off as just another post-narrative, young theatre piece becomes a satisfyingly layered work questioning subjects as wide-ranging as ableism, friendship and polarising opinions.
By Laura Kressly
How can we radically reinvent myths and classic literature? I mean, really radically – not in a box ticking way, or a modernisation the production wears like a piece of costume that doesn’t really change the thematic core of the story. I mean thoroughly, totally, completely. So all traces of horrible ‘isms’ and ‘ists’ are either reframed or criticised.
by Maeve Campbell
Pinter Four continues Jamie Lloyd’s Pinter at the Pinter season with the Lyndsey Turner directed Moonlight starring Robert Glenister as ta dying patriarch who bemoans his family’s absence at his death bed to his long suffering wife (Brid Brennan). The second half play Night School, directed by Ed Stambollouian, is a totally different beast from a different Pinter era. Al Weaver plays a disgruntled ex-fraudster who discovers, on his release from prison, that his aunts have let out his bed-room to a mysterious and glamourous young school teacher (Jessica Barden).
by Meredith Jones Russell
Tamsin Greig steals the show in the star-studded third instalment of the six-month season of Harold Pinter’s short plays.
Pinter Three features 11 plays, allowing director Jamie Lloyd to vary tone, pace and style with shorter, more amusing sketches bookended by two more heavyweight works; Landscape and A Kind of Alaska.
by Amy Toledano
There have been several different mediums focusing on the story of the female prisoner, especially from the US and Gilded Butterflies, while following this same theme, pays particular attention to the prisoner herself. It gives her story a voice and allows for a deeper understanding of her perspective. This two-hander is a lovely exploration of not believing everything you hear.
by Amy Toledano
Baby by MKEC Productions follows a year in the life of three couples as they experience the world of childbirth, from their struggles with conception, to difficulties in their relationships and within themselves as individuals. This talented cast does their best with this dated book and ideas, and attempts to bring the 1983 Broadway hit into the 21st century.
By Laura Kressly
In Chekhov’s first play, there is a gun, discussion of property, longing for the past and idly passing time with friends and family. There’s also a takeaway delivery driver, a flaming wrecking ball and people in their pants.
