by Laura Kressly
A woman stands on a pastel blue stage and starts at the beginning. She tells us a love story – how she met a man in an airport, fell in love and built a life with him. Great jobs, a family, a house, the full works. It’s perfect. Until it’s not.
by guest critic Ava Davies
Mark Wilson’s two-hander is constantly shifting. Kathryn O’Reilly and Stephen Myatt-Meadows slip from one character to another, circling each other, sometimes with love, sometimes with hate, more often than not with both, on Sarah Meadows’ claustrophobic traverse staging.
by guest critic Ava Davies
The raging influence of Alice Birch’s revolt. she said. revolt again. runs through this performance art/theatre piece by Abi Zakarian. The six-strong ensemble of women (not all white, which is good, but it could always be less white) are trying to discuss feminism. Is that even the right word anymore? It’s become bogged down in pop culture references, in mass-produced t-shirts, in discussions about depicting vaginas in art. I HAVE A MOUTH… occasionally feels like it drifts into white feminist territory, as much as it tries to unpick and dissect that movement.
by guest critic Joanna Trainor
Do you have to be responsible for your breasts?
A question you probably never thought you’d have to think about, but The B*easts pushes us to consider the very worst of society as Monica Dolan explores the sexualisation of female children.
by guest critic Serena Ramsey
One in three women will have an abortion at some point in their life. The chances are excellent that you know someone who has had one, but being such a taboo subject, we are conditioned to not discuss it.
by guest critic Gregory Forrest
There are no openly gay male professional footballers currently working in Britain. Of course, there are almost definitely gay male professional footballers currently working in Britain, but the prospect of coming out in a sport well known for its chanting crowds and tabloid-splashing players is a daunting one. Paloma Oakenfold’s new play Stud tackles this issue head on.
by guest critic Serena Ramsey
As an audience member, I always love when the actors break the fourth wall I love to feel immersed in the world. Within the play. AI Love You not only immerses us in a world surrounded by Amazon Echoes, drones and hover boards, but gives the audience the chance to dictate the plays structural direction. The power is completely within the hands of the onlookers who are given the role of jury and critics in this snappy and deeply moving play.
by Laura Kressly
It’s 2003 and Joe has returned to the UK after seeing combat in Iraq. He’s so traumatised he can barely speak, and his wife Ros doesn’t know how to help him. An infant daughter and trouble finding a job are added pressures as he tries to reintegrate into society as a functional human being. Time passes and his mental health deteriorates, but the poor script and production fails to serve the impact of PTSD underlying the play.
by guest critic Kudzanayi Chiwawa
This is the story of little known Eletha Barrett (Vanessa Donovan), a Jamaican woman who was married to film star Peter Finch (Stephen Hogan), for his final twelve years. It begins shortly after Jamaica’s independence, and highlights the personal and public struggle of the interracial couple against the backdrop of 60’s and 70’s politics.
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by an anonymous guest critic
Stephanie Jacob’s new play Again could be a traditional comedy-drama about the trials and tribulations of a family. However, Jacobs employs a clever dramaturgical device as well as using flashbacks in order to tell this story of a family of four.
The Play's The Thing UK 