By Laura Kressly
Circus is a a marvellous showcase of physical skill and the possibilities of the human body, but with this often comes a sexualised view of women and men dominating the form with their strength. Tabarnak certainly focuses on the latter, with the women serving more as support to the acts. Fortunately there’s feminist circus in the form of Casting Off that challenges women’s role in society and the circus.
By Laura Kressly
Shakespeare’s audiences were likely to be much more engaged with theatre performances than they are today. Emily Carding far surpasses any Elizabethan or Jacobean audience participation, however. This pared down version of Hamlet by the solo artist requires about half a dozen willing audience members to take on some of the key characters in Shakespeare’s play. The rest of the audience don’t just sit and watch, either – this is a collaborate effort.
by Laura Kressly
Changez and an American tourist sit in a cafe having a cup of tea at the best cafe in Lahore. As they wait for their drinks, Changez narrates the story of his life in America as an Economics student at Princeton University and an analyst at one of the top consultancies in New York City. As a young man, he had the world at his feet. His world is very different now.
by Laura Kressly
Carl and Jason, like many millennials, are special. Or rather, they’ve been told they are in their formative years. The two have grown up clinging to that knowledge as the world has bombarded them with rubbish. When they each receive a mysterious leaflet telling them they’re the chosen one, they both buy it without question.
by Laura Kressly
Pissing from tall buildings, pulling strangers, waking up somewhere you don’t remember – these are the hallmarks of an absolutely banging night out for some people. But when outrageous behaviour at the weekends starts creeping into the week, then every day, this is a problem.
by guest critic Greg Forrest
Trans drag queen Candy Delaney (Luke Mullins) is about to turn thirty-five, with three properties in New Orleans, a successful interior decorating business, and a leak in her heart. Looking to leave this little empire to someone, Candy picks up a “straight” sailor in a gay bar (George Fletcher), and makes a tentative offer.
by guest critic Meredith Jones Russell
A devastating and often surreal critique of a state’s oppression of a minority, with a strictly limited dissemination in the country it was written in, A Little Hero is a brave first play for young company DoneDid. Its production at the White Bear Theatre in Kennington doesn’t always quite get it right, but makes a worthy and powerful attempt.
by Laura Kressly
With the world as it is, it’s fair to feel like the apocalypse is coming and there’s nothing us powerless citizens can do about it. In that context, making a show about how we’re all doomed seems a rather reasonable response. Doom and gloom shows are a dime a dozen at the fringe, and these two address a particular brand of disaster with varying results.
by guest critic Maeve Campbell
Clare Pointing’s With Child isn’t actually about pregnancy. Facing a show that’s billed as six ‘talking heads’ style monologues delivered by six pregnant characters feels dauntingly alienating when you only know or care a little about trimesters or nursing plans. But thankfully, none of these themes are focused too heavily upon in Pointing’s perceptive, nuanced one woman show.
by Laura Kressly
Ink Asher Hemp (they/them) is trans nonbinary. They are taking up space and they are not apologising in this one-person show with a bit of spoken word that overviews trans and queer issues.
The Play's The Thing UK 