Beth, Opal, Aisha and Yomi are working-class women of colour. They’re busy with dates, dinner parties, and games of pool at their local, over which they bond, confide and fight. Their stories are punctuated by soulful songs providing further insight into their fears, insecurities and loves. These women could easily be young Londoners today – but Jackie Kay’s gig-theatre show was written in 1986. This relevant, moving production addressing issues of sexuality and identity, and centered on characters that are often left out of theatrical narratives, is a vital and vibrant contribution to contemporary theatre.
Kylie Jenner has just been announced as the world’s first ‘self-made billionaire’ and Cleo is VEX. Feeling this is undeserved, she has launched a tirade of tweets from her anonymous Twitter account @Incognegro about how to kill a social media entrepreneur or, as Cleo thinks of her, a ‘con artist-cum-provocateur’. She is now shut in her bedroom receiving persistent whatsapps from best friend Kara, who is worried about Cleo’s online rant.
1. What is ‘Exceptional Promise’?
a. Another name for a UK Tier 1 visa
b. An interactive game show-slash-performance piece
c. A critique of the cesspit that is London’s housing market
d. All of the above
If you answered ‘D’, then you win! You’re one step closer to getting the keys to your dream house. But first – you need to survive the rest of the rounds and beat your other two opponents, otherwise you’re doomed to dodgy landlords and housemates forever.
Aisha and Morgan have to go to school one day in August, like almost every other 16-year-old in the country, to collect their GCSE results. Their school is different from the rest of the country’s though – news teams are at the gates of Mitcham High reporting on the recent disappearance of Yasmin Sheikh, dubbed ‘terror baby’ by the Home Secretary. Frustrated with her best friend’s depiction in the media and the way she has been treated by the police after Yasmin left for Syria, Aisha is determined to tell the story of the girl behind the headlines and enlists Morgan’s help.
Even the most powerful of men can fall when society finally decides their actions are no longer excusable. Unfortunately, women have their lives ruined before these men get what they deserve, and the women closest to them have to clean up the mess. Because the patriarchy is so deeply ingrained, women may even be complicit in the abuse that men perpetuate.
The #MeToo movement has proved that male-on-female abuse and assault is far reaching, both in and out of the arts. This year there about 30 shows at the fringe that respond to the movement, and often tell first-hand stories of assault and abuse.
Most days I wake up, think about the prospect of hiding my anger and dealing with whatever life throws at me, then consider hiding under my duvet. The theatre industry keeps throwing so much shit at women that sometimes the only way we can keep going is by unleashing our rage. Except anger is an emotion often denied to women. So we suppress and suppress and suppress. It’s a vicious circle and it keeps happening. EVERY. SINGLE. DAY. My hope of ever witnessing a true revolution for women in theatre began to disappear over the last year – until this show.
Egg may be a comedy, but the underlying message behind the sketches is that women are still underrepresented in comedy, in the workplace and are still being objectified. “Hello, my name is Sharon” is the tagline for this show and serves as a reminder that any one of us can be subjected to sexism and objectification.
“We’re not here for your pleasure.” “Consent is hot.” The Fringe Wives Club need some merch with these slogans on. Glittery Clittery has everything you need for a cult feminist disco, plus a labia costume.