by Laura Kressly
Determining a Top 10 has become increasingly troublesome what with the amount of work reviewed by guest critics and the even larger amount that we get invited to but aren’t able to see. So, rather than a more traditional ‘best-of’ list, here’s a totally subjective list of a few of my favourite things – in no particular order – from theatre and performance in 2019.
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by Meredith Jones Russell
A sexy French clown goes on a blind date with a willing gentleman from the audience. And it is wonderful.
As you are ushered in to the theatre to witness this potentially most alarming of spectacles, French waiters politely hand out small typed compliments from silver platters. ‘You are beautiful,’ reads one. This gives the immediate reassurance needed before this kind of show. This is not about humiliation or nastiness. Far from it, Blind Date is full of warmth, heart and even love.
by Meredith Jones Russell
Tom Lenk is Trash is trash.
That’s not even a cruel review, it’s literally what he told me to say. And after seeing the show, I am not going to be so stupid as to say anything he doesn’t want me to.
by Meredith Jones Russell
Three conspiracy theorists have gathered to unpick discrepancies and inconsistencies in the 1932 photograph “Lunch Atop a Skyscraper”. With a police investigation-style wall behind them on which they make frantic notes and pin incriminating images, Rose Wardlaw, Azan Ahmed and Shannon Hayes attempt to collate and record their own theory about how and why the photo was taken.
by Meredith Jones Russell
Trigger warnings have been the subject of some debate in theatre circles, but if ever there was a perfect example of the right time to use one, it is in A Wake in Progress. Not only because it is easily and deftly woven into the piece by master of ceremonies Amy Fleming without spoilers or awkward interjections, but also because the point of this show is absolutely not to make anyone feel uncomfortable or unhappy about death. Quite the opposite.
by Meredith Jones Russell
Does the world need a musical version of 1999 American teen flick Cruel Intentions? Probably not, but by God it’s entertaining.
Packing out the Underbelly’s Palais du Variete, this is closer to rock concert than musical. The mainly millennial audience is practically word perfect on both the script, which has been cut for length but otherwise largely unaltered from the screenplay, and the ‘00s hits that are peppered through the plot, often with the flimsiest justification.
by Meredith Jones Russell
Is what we like more important than what we believe? This is the question posed by a National Youth Theatre (NYT) company bubbling with enthusiasm, excitement and talent.
by Meredith Jones Russell
Day two of Sinead’s hen party and enthusiasm for bottomless brunch is beginning to wane slightly in the ladies’ loo, where hen after hungover hen staggers in for a quick sit-down and some crisis talks.
by Laura Kressly
Modern dating for straight women is a horror show of dick pics, ghosting, casual sex, stealthing, quashed hopes and heartbreak. Yet Polly keeps at it, convinced she’ll eventually find her lobster – a baffling and tasty creature that will commit to her for life. Fragile and fresh out of a relationship with a guy she thought was the one, she enthusiastically dips her toe back into dating in this cheerful account of her hunt for The One.
by Meredith Jones Russell
A two-person comedy about kids and foot and mouth disease doesn’t necessarily sound like the most appealing prospect. Don’t let that put you off. Bobby and Amy is a stunning portrayal of the strength of humans, community and friendship, with incredible performances from its talented leads.
The Play's The Thing UK 