by guest critic Lucy Bailie
Grief is unfortunately inevitable for us all, but what we don’t know is how it will affect us. We could sink to the bottom of a black hole and see no way out, or we could decide to live as a seven-foot tiger for the rest of our lives.
by guest critic Gregory Forrest
The night before Parliament votes on Section 28, an amendment to the Local Government Act which prevents schools or similar local authorities from promoting homosexuality, Magaret Thatcher finds herself in a Soho nightclub. This is the fabulous premise to the now iconic drag cabaret: Margaret Thatcher, Queen of Soho.
by guest critic Gregory Forrest
A young drug-addicted porn star is looking for someone to kill and eat him. A clean-freak older man is looking for a good, tasty fantasy. So what happens to the carving knife? It’s a strong set up, and when cannibalistic fetishism is first introduced to Consumables – effectively delayed in Matthew Kyne Baskott’s’s script – the topic undoubtedly sticks in your throat.
by an anonymous guest critic
Isobel Rogers delivers a spectacular one-woman performance, collating humorous millennial moments and sharing them in a unique musical format. As the show opens Rogers takes on the persona of ‘Elsa’, a bored, overqualified waitress who is dreaming of a life beyond her bill-paying day job, where she can actually do the career which she has a degree in. This is certainly a scenario most of the creative audience can relate to.
by guest critic Tom Brocklehurst
Sometimes you catch a show on it’s way to greatness, which is one of the joys of seeing shows at an early stage. However, if they’re not advertised as work-in-progress, the audience can leave feeling shortchanged and disappointed.
by guest reviewer Lara Alier
It has always surprised me how popular Lorca is in the UK.
Last night I went to the Cervantes Theatre, where plays are performed both in English and in Spanish. The first thing that catches my eye was the minimalist set design; the wall shows a weaved white pattern and the red floor mimicked big floor tiles.
by guest critic Amy Toledano
Little did I know when I was walking into Waterloo East Theatre, that I wasn’t just seeing a show about mental health and surprise parties. I was actually attending said party with our wonderful, if not a little anxious, party host and creator of this highly entertaining one woman show: Lauren Silver.
by guest critic Ava Davies
The raging influence of Alice Birch’s revolt. she said. revolt again. runs through this performance art/theatre piece by Abi Zakarian. The six-strong ensemble of women (not all white, which is good, but it could always be less white) are trying to discuss feminism. Is that even the right word anymore? It’s become bogged down in pop culture references, in mass-produced t-shirts, in discussions about depicting vaginas in art. I HAVE A MOUTH… occasionally feels like it drifts into white feminist territory, as much as it tries to unpick and dissect that movement.
by guest critic Joanna Trainor
Do you have to be responsible for your breasts?
A question you probably never thought you’d have to think about, but The B*easts pushes us to consider the very worst of society as Monica Dolan explores the sexualisation of female children.
by guest critic Serena Ramsey
One in three women will have an abortion at some point in their life. The chances are excellent that you know someone who has had one, but being such a taboo subject, we are conditioned to not discuss it.
The Play's The Thing UK 