By Amy Toledano
Magnificent Bastard Productions have had a fantastic few years with their Shitfaced shows, selling out Edinburgh regularly as well as having wonderful London and touring runs. This year’s instalment of Shitfaced Showtime is no exception to pandemonium that credits this show with it’s appeal.
by Amy Toledano
In a man’s world, Budding Rose Productions is creating space where women take the lead, playing the kings, the warriors, and fools. And while our four actresses bring guts to this unique show, the potential for a feminist, Shakespearean world isn’t completely met. The characters feel quite 2D and a desperate need of fleshing out is in order to deliver such a powerful message.
by an anonymous guest critic
Black Cat: Bohemia is a French-style cabaret show combining many exciting acts, including fire eating, aerial choreography and hula-hoop jumping. All of this is interspersed with lots of singing and dancing.
by Amy Toledano
Never doing anything by half, Shakespeare’s Globe’s latest rendition of Love’s Labour’s Lost pulls out all the stops with a stellar cast, bringing laughter and joy until the play’s final solemn moments. Directed by Nick Bagnall, this highly energised show is a lovely version of a Shakespeare infrequently staged play, and brings with it a message of true and pure love – and the things we are willing to surrender for them.
by guest critic Romy Foster
Almost everyone on earth has at least once questioned the idea of immortality and whether they would take the opportunity or not, should it arise.
by guest critic Rebecca JS Nice
Four years ago, Ruth Cockburn pulled me off the street from the misery of the rain and the festival blues and into the bottom of a tapas restaurant. Cockburn was glowing amidst the bright yellow and blues of the slightly odd venue typical of the fringe festival and she manged to charm an audience more intent on sheltering from the rain than anything else. She became one of my magical fringe finds who touch your heart by chance.
by Laura Kressly
Over the last few years, Zoo has been quietly building its reputation as a venue, breaking the stranglehold that the Big Four and Summerhall have on high-quality work. With a loose focus on physical theatre and performance, they boast a programme varied in style, but also in quality.
by Laura Kressly
In 2015, four black women were turned away from the nightclub DSTRKT for being ‘too black’. It temporarily drew attention to systemic racism, but black women still encounter racism everywhere. In schools, work places, social situations and in public spaces, black women must conform to standards of behaviour and appearance that are dictated by white people.
By Laura Kressly
Marnie and Jen are sisters and the best of friends. They share a flat, dating stories and countless nights out. There isn’t anything they don’t know about each other – until Marnie casually mentions a doctor’s appointment she has coming up.
by Laura Kressly
Misogyny is everywhere, even in stories that aren’t about misogyny. A mysterious woman saves a drowning man who treats her like scum, and a beleaguered wife tolerates a torrent of abuse in the name of genius, but these scenarios lie within stories with more dominant narratives.
The Play's The Thing UK 