by Laura Kressly
Inclusion and engagement are a core part of Zoo Co, a theatre company of disabled and non-disabled artists that intrinsically embeds access in their work. This does does the same thing, though Artistic Director Flo O’Mahony takes a different approach to accessibility in this production. Inspired by her learning disabled sister Rachel’s joy in telling people what to do, this show is just for Rachel.
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By Romy Foster
Framed by the lens of the intrusive and boundary-breaking rise of artificial intelligence, The Shadow Whose Prey Becomes the Hunter by Back to Back Theatre serves as a wake-up call on how non-disabled people alienate people who have what are referred to in Australia as ‘intellectual disabilities’. (Australia and the UK have very different language for disability. In Australia ‘people with intellectual disabilities’ is considered polite. This is the language used the show.)
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by Michaela Clement-Hayes
“A man may break a word with you, sir, and words are but wind;
Ay, and break it in your face, so he break it not behind.”
It is a brave author that uses the word ‘comedy’ in the title of a play. Expectations are high, humour is anticipated and disappointment likely. Happily, this is not the case with the RSC’s current production of William Shakespeare’s The Comedy of Errors: a tale of mistaken identity and separation (of two pairs of twins) at birth.
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by Emma Lamond
The Archive of Educated Hearts shows a steely determination to deliver a hopeful and uplifting whirlwind tour through the lives of four women affected by breast cancer. Casey Jay Andrews presents this deeply personal, yet painfully universal, experience with the utmost kindness and calm. This provides the audience with a space to celebrate the women who make up the narrative of the piece, and also take time to reflect on their own experiences of cancer.
by Lou-Lou Mason
I’ve devoured dystopian fiction for many years and recently realised the novels I’ve read might actually be handbooks for how to survive the future. I’ve wondered when theatre is going to really capture this complex genre. Then along came The Process.
by Laura Kressly
Night can be a time of rest and escape, or mystery and danger where anything can happen. For people with chronic illnesses, vampires lurk in the darkness whilst those around you sleep. In the wee hours of the morning, playwright Eve Leigh seeks refuge online from her pain and corporeal limitations. Whilst it’s all too easy to condemn the downsides of an extremely online lifestyle, Leigh celebrates its ability to fly her around the world when her body lets her down. This millennial fever-dream of memories, horror stories and conspiracy theories blur the real and the internet’s dark corners as two actor/avatars and colour-soaked design convey the realities of a life punctuated by an uncooperative body.
By Romy Foster
Deafinitely Theatre are the first deaf-lead, professional theatre company in the UK. They make work for deaf and hearing audiences by mixing BSL, visual/physical storytelling and, sometimes, captioned performances.
by Laura Kressly
“Welcome to the glitter zone!”
I’m greeted exuberantly by one of the actors, who are mid-yoga warmup when I arrive. Though I try my best to quietly enter their rehearsal space, I’m flustered by a series of train and tube delays that mean I arrived nearly half an hour after I intended and it’s impossible for me to not be noticed. I self-consciously wave, smile, and settle into the chair that’s closest to the door. There are musical instruments, costume, sound equipment and lots of ‘stuff’ everywhere in their Tooting rehearsal room overlooking a school’s playground. And indeed, glitter.
The Play's The Thing UK 