by Zahid Fayyaz
Fresh from acclaimed runs in New York and Edinburgh, the new writing power-house puts on the one-person monologue from actor and writer Khawla Ibraheem. The show relates the struggles of Miriam in her everyday life in Gaza, whilst Israel is taking military action.
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by Diana Miranda
What do you get when you put a sheep with existential angst in a black box theatre and add a spoonful of clowning? The answer is Sheepish, a goofy and delightful show that makes you laugh, reflect, and occasionally go, “Wait, what?” Written and directed by Lauren Talitha Ziebart, Sheepish is one of those theatre delights that refuse to take themselves too seriously.
by Diana Miranda
Death and The Cat, directed by Penny Gkritzapi, explores life’s ultimate and inevitable outcome – death – wrapped with absurdist humour and a surprising amount of heart. Robert Emlyn Slater’s debut play gives life (ironically) to Death. What starts as a comedy full of quirky characters slowly reveals itself as a deeper reflection on questions about what infinity means, and how the power of connection may ground our search for meaning within the immeasurable.
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By Luisa De la Concha Montes
We all spend too much time on our phones – there is no doubt about it. So, how can phone addiction be explored, in 2024, without relying on redundant tropes? Phone, a play written and directed by Sam Taylor explores our overreliance on digital media through the distant, yet loving relationship between four siblings: Helen, Issy, Harvey and Luke. They find themselves in a holiday resort in Hastings, the same one they used to frequent as children every summer.
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by Zahid Fayyaz
The straight-talking Josephine Lacey’s debut stand-up hour is fresh from this year’s Edinburgh Fringe. The new grandmother from London, focuses on the subject of her raising her son, with him having Autism and Sensory Processing Disorder. Though this is not a natural subject for comedy, Lacey manages to put together an entertaining show from such a serious topic.
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by Diana Miranda
Incomplete, written by Rebecca Mason and directed by Amalia Kontesi, is an introspective exploration of lost love and missed chances. The drama follows Phil and Louise, who, after decades of separation, find themselves in a fortuitous encounter at a remote train station. In 1985, Phil and Louise were young, in love, and ready to pursue a future together, united by their dreams of music and entrepreneurship—until Phil walked away with no explanation. Now, as they wait for a delayed train, they confront their past, grapple with lingering regrets, and question the potential for new beginnings.
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by Zahid Fayyaz
Over the last few years, the Soho Theatre has been making a concerted effort to bring over and showcase comedians from India’s burgeoning stand-up scene. Coming back to the UK for the third time, Mumbai based Anirban Dasgupta, one of the continent’s brightest comedy hopefuls, is selling out rooms here in Britain.
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by Zahid Fayyaz
This is the sophomore effort from a former teacher turned stand-up comedian, after his critically acclaimed debut from last year The Last Living Libertine. This time around, the ‘modern day libertine’ talks about how he became a teacher, his mouse infestation, his weeknight escapades spent drinking, and how you can make money from participating in medical testing. The latter constitutes the meat of the show, as he explains how a malaria experiment almost went disastrously wrong.
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by Zahid Fayyaz
As part of the London Film Festival’s ‘Expanded’ section, Darkfield return to London’s Southbank for what is their most sophisticated immersive show to date, yet still within their familiar shipping container performance space. In past Darkfield works, you’d be lying down on a bed or sitting in an airplane seat, whilst the production used surround sound and sensory effects to take you into the world of the performance piece. This is generally done with noise cancelling headphones and total darkness, which is also the case here for Arcade.
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by Zahid Fayyaz
At the west London’s prestigious new writing venue comes the world premiere of Azan Ahmed’s latest play, a two-hander in the theatre’s intimate studio space. Running for a tight 70 minutes, the story is about teacher Yusuf, played by Ahmed himself. He is going through his recently deceased’s father’s things, and finds some old tapes which reveal that he used to be a rapper. Listening to the tapes, he begins to understand more about his father, whilst also going through the process of grieving a man who was a ‘statue’ in front of the TV for most of his life.
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