Scenes With Girls, Royal Court

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by Laura Kressly

Lou and Tosh aren’t long out of uni. They’re housemates and best friends who share everything with each other, including their rejection of society’s expectation of young women to want a serious, monogamous relationship with a man. However, their opposing approaches cause some friction between them, people grow and change, and friendships between girls and women are extremely complex, so the feminist utopia they’re trying to create may not be as perfect as they hope.

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Faces in the Crowd, Gate Theatre

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by Laura Kressly

A woman informs us that storytelling needs a sustained breath. She’s then interrupted by a crying baby, a young boy who wants her attention, and a husband who points out both but makes no attempt to help. The unnamed translator, who may or may not have lived in New York, now lives in Mexico City. Her days that – remembered or imagined – were once filled with reading and writing, nights out, casual sex and music, now consist of nappies, playtime and housework.

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Smoke Weed Eat Pussy Everyday, Camden People’s Theatre

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by Laura Kressly

Chloe Florence lives her life by a couple of key principles: smoke weed and eat pussy everyday. Along with drugs, Tinder dates and all-night raves, these keep her busy. They are also powerful and necessary distractions from homelessness, which she has been since she was 17. She shares anecdotes about her experiences partying, sex and staying safe in this rough and ready, music-infused, autobiographical monologue about her lived experience as a queer homeless woman. Though the piece takes some time to gain momentum, the latter half is an unstoppable, unapologetic roar.

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All Wrapped Up, Stratford Circus

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by Laura Kressly

Oily Cart makes gently immersive, highly sensory performances for people under five years old, and people with complex needs. This winter-themed touring show for little ones takes them into a world of colourful lights, dark shadows and sparkly parcels that reveal an array of treasure, from reams of bubble wrap, to coloured lights to a magnificent puppet constructed out of cellophane. As lights dim and glow amidst the white drapes and shimmering cushions, children are invited to explore the tactile, etherial landscape that evokes the the wonder of unwrapping presents on a snowy Christmas morning.

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Fix, Pleasance Theatre

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by Laura Kressly

Kevin arrives at his last call-out for the day, a dilapidated house in the middle of a forest near where he grew up. Li Na presents him with a washing machine that no longer spins, but as Kevin attempts to repair it, there are obvious hints that the machine isn’t the only thing that’s broken. Intertwining mythical and personal histories, Julie Tsang’s horror story is a compelling blend of the supernatural and the real.

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Antigone, New Diorama

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by Laura Kressly

In 2018, Lulu Raczka’s A Girl in School Uniform (Walks into a Bar) showed her talent for writing compelling, teenage girl characters. In a world that’s so keen to criticise and dismiss young women and their interests and emotions, Raczka’s writing legitimises them. By putting them in life-or-death scenarios, she shows they are empathetic and capable of making huge decisions that shouldn’t be made by anyone other than those much older than them, but they can still like boys and partying. This two-person take on Antigone zooms in on young sisters Ismene and Antigone, social outcasts due to actions by others in their family and who are forced to grow up much too quickly.

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