by Laura Kressly
The dating landscape is often treacherous, but for cishet women in their 20s it is sometimes down right dangerous. Though the #MeToo movement is drawing increasing attention to women’s experiences at the hands of men, it’s important to convey just how universal these experiences are. Michelle Barnette’s debut play does that through the adventures of B, a young woman balancing work, life and plenty of casual sex.
by Laura Kressly
Yokes (n.): Irish slang for ecstasy pills
In March 2015, a governmental gaff meant that for one night only, all drugs were legal. The good people of Ireland duly took advantage of this accidental loophole, leading to a night of glorious mess and the inevitable disappointment that comes from overinflated expectations. Two people, Saoirse and Harry, fall out with their friends and connect with each other during the glorious chaos in this sweet yet predictable story.
by guest critic Kudzanayi Chiwawa
If you’ve not been to Wilton’s, the oldest grand music hall in the world, it’s a wonderful treat. This tucked away venue, is the stage for the European premiere of Songs For Nobodies, written by acclaimed playwright, Joanna Murray-Smith, directed by Simon Phillips, and performed by Bernadette Robinson.
by Laura Kressly
Two men pelting it down Princes Street in Edinburgh as a voiceover lists the goals of typical adult life – big tellys, cars, careers – is one of the most iconic moments in British cinema. Ranked tenth by the BFI in its 1999 evaluation of best British films, Trainspotting has left an indelible mark on popular culture.
by Laura Kressly
Kids are intuitive. They’re smart, observant and know a lot more about the world than adults think they do. Tim Crouch’s play where adults and children play each other and kids eventually run the show also proves that they aren’t that different from each other anyway. Whimsical design, innovative dramaturgical devices and an unwilling to patronise young people with obvious storytelling combine to create a marvellous and thoughtful piece of theatre for all ages.
by Laura Kressly
Fan fiction has probably been around for as long as celebrity culture has existed, with the internet playing a pivotal role in its dissemination. But sharing her love of Shakespeare online isn’t enough for playwright Victoria Baumgartner, who brings her unbridled devotion to Shakespeare to the stage. This speculative, queer narrative presents Shakespeare’s ‘lost years’, between 1585 and 1592, with an earnest devotion that appeals to Shakespeare fans but lacks finesse and depth.
By Gregory Forrest
Self-proclaimed Sh!t Theatre turn trash into treasure. They’ve been killing fringe circuits over the last few years, and Dollywould is meant to be their ‘mainstream cross-over hit’. Or so they say. The show then takes aim at every kind of ‘mainstream’ taste level imaginable: country music, visual art, physical beauty, cabaret, and theatre. It’s an absolute shitshow and the most fun I’ve had in a theatre in ages.
by Laura Kressly
Stories always have monsters. They may not be literal monsters, but anything that’s scary, or an obstacle, or destabilising, or otherwise threatens the story’s hero.
Stories also always have choices. Usually a lot of them, made by the hero, that determine his or her fate.
Tori Scott is all charming wit and fabulous gumption in this autobiographical narration. She bills it as an experience that will not inspire you to greater heights — “lower your expectations” she warns — before carrying you on a meander of her life’s efforts and delightful failings.
By Laura Kressly
The infant Earth was a place of chaos and noise. High winds, rivers of lava and churning layers of rock glowed and cracked. It’s from this hot, toxic sea that arose the perfect conditions for life as the surface of the planet divided into sea and land, and gravity’s pull invited the formation of an atmosphere.
The Play's The Thing UK 