by guest critic Hailey Bachrach
Ignace Cornelissen’s Henry the Fifth, which was at the Unicorn Theatre in 2015, remains one of my favourite versions of that play ever. Setting King Henry’s French wars in a sandbox, Cornelissen simplified without dumbing-down the central themes of Shakespeare’s play.
by guest critic Maeve Campbell
If you are invited to a party, and the host tells you: “It’s going to be crazy,” don’t go. It will inevitably be really, really boring.
by Laura Kressly
A newborn lamb lies on the ground. It’s dead. It’s mother will soon follow, but there are others that are still alive or yet to be born, and they need help. Bec and Anna fight for the survival of these tiny creatures as if their lives depend on it.
by guest critic Joanna Trainor
A cabaret, but also Tinder, and a break up, sending nudes, watching porn for the first time and embracing or fearing female sexuality. The Internet was Made for Adults squashes a few too many storylines into one 70-minute show, some of which have almost nothing to do with the internet at all. Individually they would all make interesting and important subjects for a play, but crammed together it’s too disjointed to really
enjoy.
by an anonymous guest critic
Witty, laugh-out-loud, Irish brilliance: Erica Murray’s London debut of The Cat’s Mother demonstrates how a female-centric production can truly be a hit.
by guest critic Ava Davies
Boys, the inaugural piece by physical theatre group The PappyShow, is about exactly that. It’s an exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today. It’s about mess and silliness and play and pain. It’s about the complexity of selfhood – because how can one man possibly contain all these multitudes?
by guest critic Lara Alier
Uber, happy hour, Tinder, late night cheesy chips are all part of the vocabulary of a Londoner’s life. So are two complete strangers waking up next to each other. Usually one of them will remember, and even find a blurred picture of you both at 4 am surrounded by empty glasses. Yet neither has any memories of the night before.
by guest reviewer Daphne Penn
Holly Morgan and Tom Moores create an upbeat, haphazardous cabaret sketch show that is loosely based on the daytime TV show Ready Steady Cook’s audience participation in order to judge important controversial women from history. Well, not all the women, not Madonna because ‘She’s too perfect to judge’ – in much the same way the TV show audience judges food.
by guest critic Kudzanayi Chiwawa
Director Marianne Badrichani brings us this adaptation inspired by Sacha Guitry, a 20th Century playwright, actor and director. It includes short plays and extracts of his works, performed by an ensemble of three – Edith Vernes, Sean Rees and Anais Bachet.
by guest critic Ava Davies
On the first page of WHITE’s playtext, Koko Brown writes, “This play is for anyone who has ever felt like the other”.
“You have the best of both worlds/ But you still have to pick a world/ You have to pick a side”
The Play's The Thing UK 