storytelling

Adults, Edinburgh Festival Fringe

by Laura Kressly

Zara is a fiercely intelligent sex worker who runs an Edinburgh brothel as part of a non-hierarchical cooperative. The canny business woman doesn’t seem like she’s rattled by much, until a new client turns out to be one of her former teachers. On top if this, her colleague that he requested is running late due to childcare issues. The dark comedy by Kieran Hurley examines a tangled web of contemporary issues, particularly capitalism, parenting and familial relationships, work, and aging.

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The Grand Old Opera House Hotel, Edinburgh Festival Fringe

by Laura Kressly

In the Wes Anderson-esque, Scomodo Hotel looking out over the Edinburgh skyline, Aaron arrives for his first day of work. The row of identical, pastel doors foreshadows the farce that is about to commence, but this new play by Isobel McArthur uses the genre as a vehicle for a more complex story. Unfortunately this ambitious play tries to do way too much.

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Behold! The Monkey Jesus, Jack Studio Theatre

By Luisa De la Concha Montes

This is a new play co-created by Scott Le Crass & Joe Wiltshire Smith exploring religion and creativity through effective humour. The play opens with Spanish painter, Elías García Martínez (Roger Parkins), entering the stage dancing to Rosalía, setting the mood for his camp, tender and charismatic character. Promptly after, a vibrant dialogue ensues.

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Feature | Rehearsing Bad Sex

by Diana Miranda

Painting a raw picture of sex and substance addiction, Bad Sex delves into the challenges of a young man spiralling in a hectic acting career while dealing with the emotional strains of showbiz and family conflict. Written and performed by Theo Hristov, this work-in-progress solo show was presented as part of A Pinch of VAULT Festival, a platform for artists to share their newest work onstage to get audiences’ sweet feedback.

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Feature | Unveiling Ensemble Not Found

by Diana Miranda

The London-based theatre company that goes by the fitting name Ensemble Not Found is a group of East Asian artists that bend storytelling boundaries and explore unconventional ways to connect with audiences. The company first caught my eye at VAULT Festival 2023 with their debut show Project Atom Boi. The piece is a multi-media insight on existential dread through the perspective of a self-indulgent filmmaker attempting to capture the memories of a young Londoner who grew up in a Chinese nuclear town. It involves audiences through live video and drawing boards, inviting volunteers to doodle words that trigger the protagonist’s memories.

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Recognition, Fairfield Halls

by Laura Kressly

Samuel Coleridge-Taylor is one of this country’s great classical composers and conductors. His cantata trilogy The Song of Hiawatha is considered the best adaptation of Longfellow’s epic poem, and he had a celebrated career in the UK and abroad. Despite this, he died in 1912 at the age of 37, exhausted and in poverty. This was the end result of a lifetime spent resisting white supremacy that oppressed him for his Blackness.

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Toy Stories, Brighton Fringe

by Luisa De la Concha Montes

This is not a conventional play. Part artist manifesto, part PowerPoint presentation, this incredibly creative show explores the life and work of artist Chris Dobrowlski. The setting for this show couldn’t be more perfect. Nestled between model train tracks and vintage toys, Chris’ performance takes place inside Brighton’s Toy Museum (which, funnily enough, is also below Brighton’s train station).

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The Streets of London, Brighton Fringe

by Luisa De la Concha Montes

Homelessness might not seem like a stage-friendly topic. With the announcement of new laws that might further criminalise rough sleeping, it could seem risky to explore such a complex topic on stage. However, The Streets of London, produced and performed by Amy Wakeman, perfectly balances humour, statistics and verbatim theatre to open the audience’s mind to a topic that is too easily ignored.

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Unseen Unheard, Theatre Peckham

by Euan Vincent

Unseen Unheard, a show seeking to improve the representation of Black women with breast cancer, is a co-production between Black Women Rising and Peckham Theatre. The production emerged from the real stories of black women’s struggles after a cancer diagnosis and the myriad problems that the system affords them, based on their race. From the belief that black women don’t feel pain – “they see us as superhuman and subhuman at the same time” – to the absence of prosthetics of an appropriate skin tone, point to health inequities that the statistics sadly bear out. Black women are 28% more likely to die from a triple-negative breast cancer diagnosis than white women with the same diagnosis.

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Wonderland in Alice, Theatre Peckham

by Luisa De la Concha Montes

Directed by Lisa Millar and choreographed by Christopher Tendai, Wonderland in Alice is an original adaptation of Lewis Carroll’s tale that explores its themes and tropes through contemporary dance and music, trippy visuals and dynamic stage design.

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