by Bill Dyson
This is a terrific evening in which Humphries appears as himself with no disguises. This show is an exploration of his life and career, and what influenced and prompted him to ultimately become an international star selling out theatres in the West End and on Broadway.
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by Diana Miranda
Playing Latinx is a co-production by Guido García Lueches and MarianaMalena Theatre Co. The script is inspired by Guido’s real-life experiences auditioning within the UK theatre and film industries, navigating the exploitation of Latin stereotypes, and the thin line between going harmlessly along and complying with problematic myths. The Latin American theatremakers have devised a one-person show in which they’re doing and saying all the wrong things, Guido tells me, but making sure that people know it’s all wrong.
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by Laura Kressly
Over the latter part of the previous decade, a particular demographic raved about the relateability of Phoebe Waller-Bridge’s Fleabag on both stage and screen. This show voiced the sexually liberated, highly educated, white, middle-class millennial women who, though not lacking in representation, felt their plight was previously ignored. Brought up on the mantra that success is theirs to be had, neoliberal capitalism means they now angrily navigate a world that isn’t as easy as expected. Yet despite the difficulties of adulting, their privilege rightly invites critique. Liz Kingsman’s satire of one-woman shows does just that, along with taking aim at the tropes that many one-woman shows rely on. She eviscerates them wholeheartedly using comedy and metatheatre to hilarious effect.
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by Zahid Fayyaz
Panto, as most British traditions, is a deeply weird thing but entertains many families over the Christmas period. Bad jokes, overblown costumes, and instinctive call and response catchphrases are all a constant and comforting part of the tradition. In this instance, the talented ‘Potted’ production franchise are doing their annual Christmas tradition of a performance of all seven panto staples in 70 minutes.
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by Romy Foster
It’s a wonder that Sleeping Trees have managed to put on a show for kids. Their adult productions are cheeky, provocative, silly and inappropriate but in Sleeping Beauty and the Beast they bring the fun for kids and adults alike in this partially improvised twist on two children’s classics.
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by Romy Foster
It’s opening night at Theatre Peckham and I am one of the first to see The Wonderful performed in front of a real, live audience (they only had their dress rehearsal THAT DAY). I followed the yellow brick road through the foyer to my seats and eagerly awaited this Peckham-ised twist on the lovable children’s classic, The Wizard of Oz.
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by Diana Miranda
The stage is flooded in red light, ‘angry-chick’ music plays, and four women (Rachel Ferguson, Kirby Merner, Léonie Crawford and Chloe Pidhoreckyj) are eating what looks like chorizo slices with their faces pierced by disgust, fear, sadness, and anger. I feel like I might be watching the B+15 rated version of Pixars’ Inside Out, specifically the inside of an angry, feminist cannibal. Just when I wonder where Joy is, a frenzied character bursts in (Daisy Kelly, also the playwright), bringing some more food that the group rejects. We discover that it’s the flesh of a banker they’re eating, supposedly as a stand against capitalism. Violet, who kindled the revolutionary spark but is now sat silently, is forced to confess that it was not her rebellious spirit that inspired her but an episode of sexual harassment from the banker, also her former boss.
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by Romy Foster
Let ‘spirit tek yuh’ through a cycle of life and death in this time-warp through Brixton from the 1970’s to present day.
Through the decades, three families try to navigate their way through an ever-changing environment. With gentrification and protests on the rise, trying to maintain dying family businesses proves difficult when they are all resistant to change.
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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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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