The Wild Party, The Other Palace

Newly rebranded as The Other Palace and now part of Andrew Lloyd Webber’s empire, the former St Jame’s Theatre aims to focus on new British musical theatre. With Paul Taylor-Mills at the creative helm and two spaces in which to develop and showcase new work from the UK, their debut production is…(drumroll)…an American musical from 2000. An odd choice considering the Broadway production nearly two decades ago left critics unimpressed.

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Mouths In a Glass, Hope Theatre


by guest critic Alistair Wilkinson

Having never been to The Hope Theatre before, I am impressed by the intimacy of being in a space that only seated fifty audience members at a time. It’s a shame that Mouths In A Glass has a small crowd, resulting in a shortage of energy.

Perhaps it is this that leads to a lacklustre performance on stage, resulting in a rather basic delivery. The narrative doesn’t flow and the majority of the comedy falls flat. There are occasional laughs in the audience, however they seemed to come from family and friends.

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Boy Stroke Girl, Etcetera Theatre

By guest critic Jo Trainor

“There aren’t many feminine girls who like Doctor Who, Sherlock Holmes, and vintage motorcycles.”

This line comes after protagonist Peter has met Blue, a non-binary waiter stroke artist, and is trying to explain to his friends why he’s interested in Blue. His friend Sara says this infuriating phrase as part of an explanation as to why Peter has been attracted to tomboys in the past and so might still fancy Blue if they turn out to be male. Peter responds by saying that he doesn’t really respect women who dress in a feminine way. 

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On the Crest of a Wave, VAULT Festival

Camilla Whitehill’s grandmother died when her dad was 10 years old. He never talked much about her, but Camilla is fascinated by this woman she never met. Inspired by familial memory and grief, Whitehill and five other theatre makers draw on their own histories to create a playful homage to the endurance of family stories. It’s a joyful experience with a retro seaside aesthetic and a big heart, though lacking in polish and a consistent throughline.

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Jerry Sadowitz: Card Tricks with Appropriate Patter, Soho Theatre

by an anonymous guest critic

It’s fair to say that watching Jerry Sadowitz is not for the fainthearted. There is no topic that this infamous comedian/magician won’t attempt to mine comedy material from. So whilst a lot of his jokes are extremely funny, quite often they are proceeded by a jolt to the audience as they realise that yes, he is about to do a bit about some of the following subjects: paedophilia, the Hillsborough disaster, rape, the Holocaust, Trump (whom he supports), Bridget Christie and Stewart Lee to name just a few. Most of the time, the audience, who are well tuned into Sadowitz’s ruthless style, are in hysterics.

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This Is Not Culturally Significant, VAULT Festival

By guest critic Jo Trainor

“Beans, beans good for the heart, the more you eat the more you…”

Adam Scott-Rowley packs an almighty punch with his one man show This is Not Culturally Significant. Twelve characters struggling with the every day, are pieced together in this brutal, beautiful, brilliant performance. 

Scott-Rowley often moves between his characters as if he’s going through an X-Men-esque transformation. The transition can look incredibly painful but he also moves seamlessly between storylines. His range of personalities and the little connections that bind them prove what a clever piece of theatre This is Not Culturally Significant is. Each of Scott-Rowley’s creations feel entirely developed even if they’re only on stage for a few minutes, and he has perfected the unique grotesque and outrageous physicality and facial expressions that define each of them.  

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