by Dora Bodrogi
A piece called Naked is sure to bring a memorable experience. Dancer duo Luke Vincent and Paige-Marie Baker-Carroll’s piece does not disappoint. Theirs is a performance that mixes dance, cabaret, theatre, music, and unconventional movement with the aim of putting unapologetic, raw self-expression in the spotlight in a way that lingers long after the lights fade.
by Lawrence Osborne
This is a tale of a midnight rendezvous of a very suspect nature between what, at first sight, seems to be just a dealer and his runner. The story explores aspects of a life in crime and the personal history between the pair. It sounds fairly simple at first.
by Amber Pathak
The play opens with three, young lads playing games. As it reaches dinner time they begin to debate whose country’s food is better: Jamaica, Cameroon or Ghana? This is the basis of Jollof Wars – an argument between two families that will see relationships broken and mended. Focusing on the engagement of a Ghanaian man to a Nigerian woman, Jollof Wars gives a witty yet poignant insight into how culture influences our choices, and in turn impacts the rest of our lives.
by Laura Kressly
In a recent article, Nick Chater explains that the majority of people aren’t likely to rebel against tyrannical governments. Most of us are predisposed to follow rules, no matter how arbitrary they are. We might think that we would lead a revolution, but in all likelihood, most of us will do what we’re told.
By Hannah Kennedy
I came out of The First, by Barry McStay with direction by Emily Jenkins, and the first thing I write in my notes is ‘more space love love yes’. Given the focus on firsts within the piece, I think it’s apt to share first thoughts first.
By Hannah Kennedy
Mental illness isn’t portrayed often enough in theatre, especially discussion on how it effects those around it. LOVE (Watching Madness) is a beautifully apt title for this piece performed and written by Isabelle Kabban, and directed by Ruth Anna Phillips. It explores the history of Kabban’s relationship with her mother and, specifically, her mother’s Bipolar Disorder.
By Grace Bouchard
“It’s a sexy song about eating.” Francesca Forrestal says to the front row, before Oddball begins. She’s referring to “Bon Appetite” by Katy Perry that plays on a pre-set loop. At the same time, she’s limbering up – swinging her arms, chatting nonchalantly with the audience, and building a familiar relationship she carries throughout the performance – when the show has begun and latecomers enter halfway through one of her speeches, she unflinchingly welcomes them and instantly settles back into the script as though nothing happened. The ease with which she captivates and holds the room is enchanting in itself.
by Meredith Jones Russell
Georgie Coles, Rosie Doonan and Kylie Perry asked young people across the UK, born and brought up on Whatsapp, Google and Instagram, to write in and ask them anything, anything at all. They then created Ask Me Anything to provide them with some answers.
by Meredith Jones Russell
Often misunderstood, neglected and under-reported, Northern Ireland is just across the water but can often feel a million miles away. Kate Reid’s new script tackles this issue with a powerful and compelling look at real-life, contemporary Northern Irish stories.
by Emma Lamond
Poor mental health can make us horrible people, and nobody talks enough about it. This play does just that with nuance and painful realism.
The Play's The Thing UK 