by Diana Miranda
Laughter is an infiltration strategy, and Slap ‘N’ Tickle Theatre Company certainly use it to talk about the darker aspects of sex in Spit Me Out.
Continue readingSpit Me Out, Water Rats
Month: August 2021
Hjem, Greenhouse Theatre
by Diana Miranda
At the heart of Canary Wharf’s Jubilee Park, The Greenhouse lets go of theatre productions’ bells and whistles to become a zero-waste venue that works only with recycled materials. The little wooden cottage and its in-the-round staging give the audience a feeling of gathering around a fire for a storytelling session, and the tales it offers are set in natural environments that frame, or even shape, the characters’ fortunes.
Continue readingIf We Ended This, Camden People’s Theatre
By Laura Kressly
Emotional connections with others – or lack thereof – can feel all-consuming. In this expressionistic montage, mini-scenes exploring the essence of how we relate to and with others culminate in a sense of isolation that comes with growing up and growing apart from friends and loved ones. However, this channeling of big ideas through characters who are only onstage for the briefest of moments doesn’t give either the ideas or the characters space to grow.
Continue reading12, Greenhouse Theatre
by Diana Miranda
The Greenhouse Theatre is a zero-waste, pop-up venue created to motivate people to take action in response to climate change and, through the power of storytelling, help build individual emotional connections with the immediate natural environment. As part of their summer programme and written by playwright and climate activist Henry Roberts, 12 follows a couple who help each other find a sense of self in a world in crisis. He designs buildings and can never quite shake the feeling that every creation is deemed to fade away. She is a linguist and has a passion for words as a means to bond with our surroundings. Together they navigate a world in which both words and landscapes seem to be disappearing as if hit by an irreversible pandemic, and try to find ways to inspire sustainable and meaningful connections.
Continue readingThe Comedy of Errors, RSC
by Michaela Clement-Hayes
“A man may break a word with you, sir, and words are but wind;
Ay, and break it in your face, so he break it not behind.”
It is a brave author that uses the word ‘comedy’ in the title of a play. Expectations are high, humour is anticipated and disappointment likely. Happily, this is not the case with the RSC’s current production of William Shakespeare’s The Comedy of Errors: a tale of mistaken identity and separation (of two pairs of twins) at birth.
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The Play's The Thing UK 