Omelette, VAULT Festival

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by Lizzie Jackson

In the dark and atmospheric Cavern at the Vaults, theatre company Long Distance present us with their first play, Omelette. It explores many of the important questions on the climate crisis. How far should we go to save the planet? How far is too far? Does it make a difference? Should we give up coffee forever?

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How to Save a Rock, VAULT Festival

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by Jade Pathak

What does it look like when you mix ethical, underground theatre with a Disney-esque musical that follows a heroic, Greta Thunberg-type, a gardener and an enigmatic polar bear? Well, Pigfoot Theatre show us, and it’s a whirlwind of fun for all ages with a live, whimsical score. Sharp, funny and informative, something special has been created here, and the care and love for this production is visible from every detail, from the bike powered lighting strips, to the recycled tin cans.

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I Don’t Know What to Do, VAULT Festival

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by Isabel Becker

New artistic company Creative Destruction bring forward a pertinent interrogation of the hypocrisies behind the climate crisis movement in their entertaining and moving play. Despite the laziness of the production’s title, which sounds like a draft idea that never quite made it to review (the play is still a work in progress), Zoe Lafferty’s autobiographical story of the 2019 climate protests certainly takes ownership of the theatre as a powerful vehicle for social change.

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First Time, VAULT Festival

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by Bryony Rae Taylor

In a manic pre-show ‘welcome’, Nathaniel Hall greets the audience with recently sniffed white powder falling down his face, dressing gown on, and in a bedroom strewn with the detritus from a recently concluded party. He’s overslept and he’s addressing his post-party headache with a heck of a lot of cocaine. It’s alarming.

‘We’re not in the Vauxhall Tavern anymore are we, Toto?’

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This Bitch Can Heal, VAULT Festival

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By Evangeline Cullingworth

Jack is hurtling forwards, desperately striving to fix mistakes from their childhood, arguments with their girlfriend, and now climate change. This movement needs them, and they need an excuse to keep moving. We meet Jack in the middle of the London Rebellion, the 10 days of peaceful civil disobedience organised by Extinction Rebellion in April last year. They jump onto their bicycle late at night and begin to hurtle forward, away from the scrutiny they’re under at home.

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The Time of Our Lies, Park Theatre

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by Laura Kressly

When Howard Zinn was a bombardier in WWII, his plane was too high up to see the damage caused by the bombs he dropped. As a young academic after the war, he visited some of these places, rebuilt but with civilian trauma still fresh in survivors’ minds. These experiences cemented a life-long opposition to war and social injustice, manifested in activism, writing and scholarship. He believed that learning about history was the best way to avoid repeating it, and that listening to the stories from anyone other than the victors is crucial to that learning process.

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The Abode, Edinburgh Festival Fringe

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By Laura Kressly

Imagine the world without the technological advances of the last few decades. No mobile phones, no internet, no ipods. Just Walkmans and two-way radios and clunky TV sets – but the political landscape is still the same. Where will all the incels gather without reddit?

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