By Laura Kressly
I’m a sucker for inventive adaptations of Shakespeare plays, so Paper Cinema’s Macbeth, a live-action, silent movie version, is hugely appealing. For 90 minutes a team of five use handheld cameras, desk lamps and hand-drawn illustrations to broadcast the story in visual form onto a large screen. Accompanied by a Celtic-inspired, cinematic score, this graphic novel/stop motion/object manipulation telling is enchanting – until I ask my companion, a Dutch woman who doesn’t know Macbeth, what she thought.
by Lara Alier
As I was walking to the theatre, down the St. James Street with my H&M boots, I was overwhelmed by a deep feeling of inadequacy. I was surrounded by tailoring shops, light brown leather shoes and the financial times. It was quite uncomfortable. When I finally made it, it felt better than entering a falafel shop after a night out. The intimate atmosphere of this welcoming theatre was the perfect place to slow-cook a good play.
by Amy Toledano
Taking a fanciful journey through the life of the often forgotten museum cloakroom attendant, this one-woman show gives us a behind the scenes look at how we can turn the mundane into something really special.
by Laura Kressly
What’s a woman to do when she wants to have filthy, degrading sex that directly opposes her feminist principles?
Find the most degenerate, weasel of a man in the hopes that fucking him will purge her of deep-seated desires to be used, of course.
by Laura Kressly
A couple who have been together for either 14 years or 3 weeks argues as the world around them threatens to collapse. Or maybe it’s collapsed already. An Uber driver writes a book about the fall of civilisation. A lonely woman in a hotel room surveys her destructive work in the financial sector.
Time passes and bends and flips. Personal and global crises unfold in an endless cycle of pain and rage.
by guest critic Maeve Campbell
The performance begins on entering the Saatchi Gallery, and we are asked to fill out questionnaires on preferences of social action. These are then used to tailor our experiences of the performance. We are led into a clinical waiting room, briefed and provided with balaclavas and protest signs. From there we are taken on a journey through Pussy Riot’s experience of the Russian judicial system and labour camps they were subjected to after they stormed Christ the Saviour Cathedral in Moscow in 2012.