About Leo, Jermyn Street Theatre

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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.

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The Cloakroom Attendant, Tristan Bates Theatre

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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.

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Trust, Gate Theatre

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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.

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I Have a Mouth and I Will Scream, VAULT Festival

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.

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Inside Pussy Riot, Saatchi Gallery

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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.

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Part of the Picture, Edinburgh Festival Fringe

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Peppered across the North Sea, giant metal birds stretch towards the sky and drill into the seabed below, hunting for life-giving oils and gasses. Along their wide bellies, men work day and night to keep them moving in dangerous, dirty conditions. The money’s good, and the work is plentiful.

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