by guest critic Liam Rees
Grid Iron and the Traverse Theatre’s new co-production Jury Play is a play of two halves with rather mixed results. Based on Dr Jenny Scott’s research into jury members’ experiences and how to improve them, director Ben Harrison and writer, Dr Jenny Scott, have decided that the best way to bring these issues to life is to cast the audience as the jury in a fictional murder trial.
Erin Markey is a darling of the New York performance art, comedy and cabaret scenes. With an established, devoted fan base, her work has been lauded by publications such as the New York Times and Time Out. But after seeing Boner Killer, it’s unclear how she has garnered so much acclaim.
Sami and his mum are preparing for her to go to Mars for years and years and years. Both obsessed with space, Sami’s proud of her but worried that he might never see her again. To help him come to terms with her imminent departure, mum buys him a book about Laika, the first dog to go to space.
I’ve seen sexist theatre. I’ve seen ableist theatre. But it’s rare to come across a show that is so openly and unashamedly both of these things.
Even more frustrating, these aspects of the story are heightened and played for laughs. There’s no commentary or condemnation, just the worst parts of cult movies rolled into one superhero story reliant on anti-women stereotypes. The performances are excellent and there are some great tunes, but the overtly offensive storyline overwhelms any of the production’s positive aspects.
Chile has suffered regular bombings since 2005. Unlike the current spate of terrorism the UK is experiencing, more than 80 disparate, domestic anarchist groups have claimed responsibility for these actions. Disaffected by the government and inspired by those before them, they continue to plant their homemade explosives around Santiago.
Atir is a young boy living in Egypt, working as a servant to The Pasha. When the ruler wants to send a gift of a baby giraffe to the King of France, he asks Atir to take her. An adventurous journey ensues as the pair make their way from Cairo to Paris in this surprisingly complex narrative for children.
By guest critic Liam Rees
Damned Rebel Bitches is a real joy to watch thanks, in no small part, to Tina Gray’s delightful portrayal of Ella, a no-nonsense, free-spirited, gin-loving octogenarian. It tells Ella’s life story, from surviving the Clydeside Blitz and falling in love, to saving her feckless grandson’s failing marriage in the middle of Hurricane Sandy. By writer and director Sandy Thomson, this transatlantic epic about survival in the face of disaster doesn’t have any time for tired stereotypes. It’s definitely a breath of fresh air.
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By guest critic Nastazja Somers
Oh Dionysus, as someone who grew up in Poland I really do miss political theatre. The real thing, you know? The thing that grabs you, makes you stand up and cheer for the performers. The thing that forces you to scream inside and ask yourself “Fuck, fuck, fuck, why are people so blind to this?” And by political theatre I do not mean Brexit plays or Donald Trump plays. I am talking about the kind of theatre that makes you question everything and makes you want to understand more. The kind of theatre that comes from the heart and the gut.
Rape culture is real. Victims are blamed, perpetrators are excused and conviction rates are low. Of reported rapes – estimated to be less than 20% – only 3% are deemed to be false accusations.
One of the unfortunate side effects from my time as a secondary school Drama teacher is that Brechtian staging has been ruined for me forever. Brecht is particularly beloved by Drama teachers what with his trademark styles that work particularly well with low production budgets and the diverse abilities of most Drama classes. He is also part of GCSE and A-level syllabuses, and as such, I’ve imparted his techniques to young people entirely too frequently over my short time at the chalkface. His work will long be associated with devised exam productions and low-budget school plays, so anything similar on a professional stage is burdened by those memories.
The Play's The Thing UK 