by Laura Kressly
George Mann and Nir Paldi founded Theatre Ad Infinitum over a decade ago and have toured the world with their socio-political devised work since. From sci-fi dystopias to Mexican factories, their searing productions draw on physical theatre and international performance to create distinctive shows with powerful commentary.
by guest critic Rebecca JS Nice
Transforming Underbelly’s Spiegeltent into a dark, playful nightclub, Circa’s European premiere of Peepshow is a mesmerising hour of movement, theatre and circus.
By guest critic Amy Toledano
Writing a review for this abstract piece of feminist theatre feels almost unnatural, as Julia Croft’s Power Ballad is one that is completely subjective. And while the piece is not exactly to my own person taste, it is plain to see that this is almost the point. It’s certainly understandable how Croft has taken the Fringe world by storm.
by guest critic Amy Toledano
The story of Elle Woods is one that many people are familiar with, and from the way the New Wimbledon Theatre was buzzing with excitement for it’s press night, it remains clear how many hold Legally Blonde close to their hearts. We have seen numerous productions of this show since it opened on Broadway in 2007, many of which have tried their best to be differentiate from the original. This version is no different.
By Laura Kressly
Like many before and after him, Ignatius Sancho was born on a slave ship in 1729. Unlike other slaves, the orphan received an education, married, owned property, published letters and compositions, and was the first black person to vote in a British election.
By guest critic Meredith Jones Russell
Weaving together three centuries and four women’s stories, Offside tackles the ongoing search for equality in women’s football with high energy and verve.
by guest critic Steven Strauss
On its surface, the title Long Day’s Journey into Night describes the looooong four acts it takes Eugene O’Neill’s play to chronicle the story of one day-into-night in the life of the Tyrone family. Metaphorically, it suggests how the play utilizes this micro-slice of life to depict how this autobiographical family descends from the daylight of sanity to the darkness of madness in a macro sense, and how their projected reality in the sunlight of day masks the true darkness of night lingering underneath.
By guest critic Steven Strauss
If the powers-that-be At New York’s Brits Off Broadway were to name a resident playwright, Alan Ayckbourn would surely take the crown.
By Laura Kressly
British theatre’s slavish reverence for classic texts stifles innovation, resulting in safe, similar productions of the same collection of canonical works. This attitude needs to be challenged, and RashDash’s Three Sisters proves they’re the company to do it. Their female-centred, millennial take on Chekhov’s story of three women trapped in the Russian countryside pining for their old lives in Moscow is a gloriously irreverent and refreshing interpretation.
by Laura Kressly
Polly lives in Gravesend, has a good job at the council, a husband and two children. Life is…fine. No, really – she insists all is well. Other than a few meddling Aunties and standard marital discontent, it’s fine. Then Bali, her school boyfriend, calls her after 20 years. He’s in town, and would she like to meet for a coffee?
The Play's The Thing UK 