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Tamburlaine, Arcola Theatre

Stylistically revolutionary as it was when first written, Marlowe’s Tamburlaine is still a clumsy brute of a play (not unlike Shakespeare’s first tragedy, Titus Andronicus) that has plenty of challenges when it comes to its staging. But the messy and violent journey from common thief to emperor includes some extraordinary moments that appealed to wider audiences in a way that went on to shape Shakespeare and his other contemporaries. There are shadows of the Richard III, Mark Anthony and Henry VI that are yet to come, and delightful to behold in this rarely staged play. Director Ng Choon Ping trims a lot of the excess script and gives it a clean, quick pace but in doing so, the story loses rigour. In an attempt to it tidy up, the story is flattened to a relentless quest with little light and shade.

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The Fall, Acklam Village Market

Roy lies in a hospital bed suffering from depression and unable to move. When he meets little Alexandria he sees an opportunity to escape, but must first gain her trust. He concocts elaborate tales drawing on ancient myths that become increasingly vivid and violent, but captivate the seven-year-old. Accompanied by stunning animated projections and a live score, this 30-minute adaptation of Tarsem Singh’s 2006 film The Fall attempts to tell the story of an unconventional friendship and discovery of selflessness – but doesn’t manage to achieve the poignancy they aim for. 
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The Principle of Uncertainty, Draper Hall

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According to one of the theories of quantum mechanics we’re taught in The Principle of Uncertainty, we can be in multiple places at once. If only that were true. I could review way more shows than I can currently, go on holiday, live in multiple countries and hold down several jobs, all at once. It would be wonderfully productive. Dr Laura Bailey (Abi McLoughlin), the lecturer who explains the theory to us, has a simpler wish – to be able to see her daughter again.

We are Dr Bailey’s freshman class in Draper Hall, a housing estate community space in Elephant & Castle newly doubling as a performance venue run by veteran Italian polymath Stefania Bochicchio. The non-traditional space doesn’t have a lighting rig or backstage, so shows like this that defy theatrical conventions are a natural fit.

Closely resembling a lecture, this production takes time to get to its point but when it does, it breaks hearts. McLoughlin excels as the warm, enthusiastic Laura and utterly convinces as a scientist. Her gentle breakdown is a moving climax to a script as it begins to lose focus, with the attention shifting from equations and concepts to her own, personal story.

Dr Andrea Brunello’s script is science heavy, though it doesn’t matter if it’s understood or not. It takes awhile for the story to emerge from the lesson; though it doesn’t work if it’s earlier, this happens well after the question of what the performance’s point is arises. McLoughlin is fully engaging throughout even if it’s difficult to care about the content of the lecture.

The piece suits the space well, and takes a relaxed and accessible tone – a great choice for a south London council estate venue seeking to bring new audiences to theatre. An excellent performance in this a show that doesn’t feel like a show charms, educates, and provokes reflection on the important things in life.

The Principle of Uncertainty runs through 1 April 2017.

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Bagmanimous, VAULT Festival

by guest critic Jo Trainor

Nonsense. Complete and utter, glorious, nonsense. This was Brendan Murphy’s very first outing of Bagmanimous and it was an hour of brilliantly silly joy. 

Man dates, “That’s limes”, and a list of famous sharks. The Bag Man, teaches the audience how to be gracious in defeat, and magnanimous in victory by putting the room through its paces. There are magical quests, intense quiz rounds, and bag inspections, and although we don’t do tremendously well, the Bag Man tells us all we’d learnt something new which is just as important. The show is team effort so get ready to participate. 

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The Club, VAULT Festival

By guest critic Martin Pettitt

Set in a dingy nightclub office in the late 1990s, owner George is battling to save his club, Tardis, on its busiest night of the year. As the club is set to be filled with celebrities, he is stuck between his overdue rent payments and the money he owes to gangster Dave Sharky. Joined by friend and tenant Nick, they try to come up with a solution to the ever-worsening situation.

The stage set consists of a table littered with various paraphernalia: bottles of alcohol, drugs, a teddy bear and a mounted dildo. The action takes place in this space over the period of a night where everything is at stake. George is a well-travelled fraudster and neurotic and Nick is an artist obsessed with making plaster casts of ladies arseholes – the juxtaposition makes for a fun dynamic.  

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Kings, VAULT Festival

Ebi, Bess and Hannah are homeless, living in tents in Archway. The three have a mutually beneficial relationship – nineteen-year-old Hannah has older and wiser people looking after her, and her doe eyed youth brings in a lot more money from their begging trips. The three are happily ticking along until Caz turns up. Another homeless young woman, Caz has a magnetic presence that either draws people to her or repels them; there is no in between. The new group dynamic is tense and dangerous, with the very real sense that anything can happen.

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Carry On Jaywick, VAULT Festival

A couple of miles along the Essex coast from Clacton, is the village of Jaywick. Jaywick has the distinction of being the most deprived area of Britain. Originally a holiday resort, WWII saw an influx of year-round residents. But as years passed, the buildings fell into disrepair, the risk of flooding increased and the area was largely neglected by local and national governments. The community spirit remained high though, with a core group of concerned residents doing their best to make positive change.

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Boy Stroke Girl, Etcetera Theatre

By guest critic Jo Trainor

“There aren’t many feminine girls who like Doctor Who, Sherlock Holmes, and vintage motorcycles.”

This line comes after protagonist Peter has met Blue, a non-binary waiter stroke artist, and is trying to explain to his friends why he’s interested in Blue. His friend Sara says this infuriating phrase as part of an explanation as to why Peter has been attracted to tomboys in the past and so might still fancy Blue if they turn out to be male. Peter responds by saying that he doesn’t really respect women who dress in a feminine way. 

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