Relatively Speaking, Jermyn Street Theatre

Relatively Speaking – Jermyn Street Theatre, London - The Reviews Hub

by Zahid Fayyaz

This is the first show in the Jermyn Street Theatre’s Encounters season, and they have certainly started it off on a high note. This is a production of one of Alan Ayckbourn’s first plays from 1965, a comedy and farce set around the misunderstandings between two couples. It begins when Greg, keen to propose to his new girlfriend Ginny, decides to travel down to ask her parents for permission, having gleaned their address from a cigarette packet in Ginny’s flat. However, the couple at the address, Phillip and Sheila, are not Ginny’s parents, but Greg fails to cotton onto this – hence the comedic miscommunications.

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Feature | Bringing Characters Come to Life

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by Laura Kressly

Passion Fruit is very much Dior Clarke’s story, but it’s not a solo performance. Though the first rehearsal I observed consisted of the director Melina Namdar solely working with Clarke, the second included actor Hayden Mampasi, who takes on a varied collection of supporting characters. In this rehearsal, director Melina Namdar uses a range of exercises to develop Mampasi’s characterisations and ensure the people he plays are distinct from each other. It’s an intense day full of work on the details that bring characters to life on stage, showcases Namdar’s expansive director toolkit, and the techniques that actors use to bring characters to life.

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Small Changes, Omnibus Theatre

Theatre review: Small Change at Omnibus Theatre

by Diana Miranda

Both Barrels Theatre’s revival of Peter Gill’s 1976 Small Changes looks back to postwar Cardiff through the eyes of two Catholic, working-class families. Gill’s narrative provides a layer of evocative lyricism scattered throughout the memories of two men, giving a poetic undertone to a realistic play.

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Improvabunga, Edinburgh Festival Fringe

AUDIENCE REVIEWS: IMPROVABUNGA – MidlandsImprov.com

by Diana Miranda

How do you earn the spotlight for a musical thriller about spy kids facing deathly traps at an indoor trampoline park? Producers, take note of the title: Jump into death: the bounce back. It might be too specific a niche, but worry not, the solution is simple. Call Watch This Improv Troupe. 

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Afterparty, Edinburgh Festival Fringe

It's the humanity which counts': AFTERPARTY – Edinburgh Fringe | My Theatre  Mates

by Diana Miranda

A group of friends gets ready for the party of a lifetime once their exams are over. The occasion calls for the opportunity to dress up, drink up, and get carried away by summer plans as the stepping stone for the future. The party scales up, and they end up breaking into their school. Blackout. Not the theatre kind. The drunk kind.

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For All the Love You Lost, Edinburgh Festival Fringe

Fundraiser by Morosophy Productions : Morosophy Productions goes to  Edinburgh Fringe!

by Diana Miranda

Written and directed by Joshua Thomas, For All the Love You Lost is a sincerely moving piece coloured by passages of spoken word poetry and physical theatre. Despite focusing on contemporary dating, it succeeds in portraying the emotional value in connections beyond romantic love.

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1902, Edinburgh Festival Fringe

1902 announces return to Edinburgh Fringe for fourth year

by Diana Miranda

Satire Sky Theatre brings back 1902, an immersive theatre piece by Nathan Scott-Dunn, for the fourth consecutive year. 1902 flashes across the tumult of the fringe in Edinburgh’s Old Town to strike a goal at Leith Arches, a venue with more local atmosphere. The action takes place at the Dog and Duck pub in 2016, where four football enthusiasts (Scott-Dunn, Alexander Arran-Cowan, Josh Brock, and Cameron Docker) gather around a large table to prepare for the Scottish Cup Final. The audience steps into the pub turned into an in-the-round stage, under a brick archway with the bar to one side and an industrial staircase that might as well be a stadium’s grandstand.

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Plasters, Edinburgh Festival Fringe

Interesting & heartfelt': PLASTERS – Edinburgh Fringe | My Theatre Mates

by Diana Miranda

This piece of new writing follows a young woman (Emma Tadmor) who explores what loving someone means as she tries to make sense of her relationship’s crumbling. The story unravels through metatheatrical transitions spread throughout the show that allow her to navigate the issue as herself and as the character she plays. She is joined by her partner (Julian Chesshire) during a show’s rehearsals that depict a couple who recently moved into a new flat. It’s a bit difficult to tell the difference between when they’re in character and out, and it takes a while to understand the relationship’s subplot when they’re off stage. However, the main essence is clear in both scenarios: the failure to communicate their feelings and the bitterness and frustration that entails.

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pool (no water), Edinburgh Festival Fringe

Pool (no water) : All Edinburgh Theatre.com

by Diana Miranda

New Celts Productions and Oddly Ordinary Theatre Company presents their take on pool (no water), a show that delves into the drive that a group of artists find in envy and ambition after an incident with one of their friends, the successful one. Written by Mark Ravenhill, the script has no assigned parts for any specific character. This leaves freedom for each production to explore and devise the motivations behind the text, as if the lines themselves were abstract protagonists that take human shape when a show sets them in motion.

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May Queen, Paines Plough Roundabout

MAY QUEEN - Paines Plough

by Laura Kressly

Leigh’s doing her GCSEs but all she and the girls at school can talk about is the upcoming May Day event, where Leigh’s playing the May queen. She can’t wait to wear the dress she was allowed to choose herself, and wave from the float whilst the entire city of Coventry comes out to watch. What she doesn’t realise is that at 16 years old, Leigh’s had enough of boys and men consuming her body.

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