Fiddler on the Roof, Playhouse Theatre

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by Louis Train

When I told my mother I was moving to Russia, she sighed and reminded me that to her, Eastern Europe was a cemetery. Her grandparents had fled during the Russian Civil War, and her parents had grown up watching details of the Holocaust emerge, night by night, like a dark beacon announcing the violent and final end of Jewish life in Eastern Europe.

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The Show in Which Hopefully Nothing Happens, Unicorn Theatre

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By Laura Kressly

For a show in which hopefully nothing happens, there are plenty of weird and wonderful things that unfold, of course. Because a children’s show – or one for adults for that matter – would be incredibly dull indeed if nothing happened, but that’s absolutely not a worry here. 

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Passionate Machine, Draper Hall

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by Laura Kressly

In 2015, Dr Rosy Carrick was in Russia researching the life and work of Vladimir Mayakovsky as part of her PhD. On an otherwise a normal day, she receives a note from herself. It’s rather different from the usual reminders her past self leaves her future self, like ‘phone mum’ or ‘pack daughter’s PE kit’. Dated 1928, she has written to her past self – due to incorrect calculations and broken equipment, future Rosy implores present Rosy to build a time machine to rescue her.

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Richard III, Alexandra Palace

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by Louis Train

There’s an annoying trend among artists to draw explicit parallels between historical texts and the present day, tossing around words like ‘prescient’ and ‘timely’, and finding hints of Brexit in Arthur Miller plays like religious fanatics spotting the face of Jesus on toast. That’s not to say, however, that we can’t find broad reflections of our world in old stories: people are still people, just as interesting, lovely, and ugly as they ever have been.

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10, Vault Festival

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by Laura Kressly

It’s no secret that history has been written by rich white men, and anyone not a rich white man is sidelined in textbooks and scholarship. Though institutions are starting to decolonise and de-centre the narrative that is widely taken as fact, women still aren’t getting the attention they deserve and change is slow. In 10, playwright Lizzie Milton wants to redress the balance. The potted stories of 10 women who have been largely forgotten in the passage of time unfold in choral celebration, serving to both educate and enlighten audiences.

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