by Luisa De la Concha Montes
Mustafa Algiyadi’s stand-up comedy show is a breath of fresh air. He knows better than to try to convince his audience that the stereotypes they hold about Arabs are wrong. So instead, he does the unexpected, turning the show around, making his listeners the victims of his jokes.
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by Luisa De la Concha Montes
I Was Kinda the Bad Guy is Jaz Johnson’s debut play. This coming-of-age story explores the relationship between Diane (Jaz Johnson) and Nadine (Noah Fence), two friends that have developed a relationship of extreme closeness, becoming “one soul in two different bodies”. Diane’s mum recently abandoned her and she is dealing with the repercussion of this loss, which has made her distrustful of everyone, with the exception of Nadine.
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by Zahid Fayyaz
This is a fascinating one-woman show, aptly timed for the valentines season, exploring facets of love and obsession. Following Faith, expertly played by Faith Brandon, in her quest for love, this is a highly entertaining and compelling look at one woman’s descent into obsession.
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by Diana Miranda
“Today you can get rid of your fear”, Strangers Like Me Collective promises. As the audience arrives at Fears Eat Life, premiering at the Voila! Europe Festival, they find a sheet of paper on each seat inviting them to write down what they’re most afraid of and throw it on stage. And so, this interactive cabaret show, written and directed by Timna Krenn, begins before the lights go down. To throw one’s fears away to the power of theatrical catharsis seems meaningful enough, and the prospect of having performers enacting them back to us in a dark comedy improv seems like something to look forward to.
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by Diana Miranda
How do you earn the spotlight for a musical thriller about spy kids facing deathly traps at an indoor trampoline park? Producers, take note of the title: Jump into death: the bounce back. It might be too specific a niche, but worry not, the solution is simple. Call Watch This Improv Troupe.
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by Meredith Jones Russell
A sexy French clown goes on a blind date with a willing gentleman from the audience. And it is wonderful.
As you are ushered in to the theatre to witness this potentially most alarming of spectacles, French waiters politely hand out small typed compliments from silver platters. ‘You are beautiful,’ reads one. This gives the immediate reassurance needed before this kind of show. This is not about humiliation or nastiness. Far from it, Blind Date is full of warmth, heart and even love.
by Meredith Jones Russell
Trigger warnings have been the subject of some debate in theatre circles, but if ever there was a perfect example of the right time to use one, it is in A Wake in Progress. Not only because it is easily and deftly woven into the piece by master of ceremonies Amy Fleming without spoilers or awkward interjections, but also because the point of this show is absolutely not to make anyone feel uncomfortable or unhappy about death. Quite the opposite.
By Meredith Jones Russell
It was Andrew Green, in the Garden, with a Plant. No need for spoiler alerts, though. This was just the ending on the night I saw Murder She Didn’t Write, an improvised whodunnit comedy.
by Amy Toledano
Anna Nicholson’s Woman of the Year is a comedy cabaret that hits all the solo show marks. Incredibly high energy, brilliantly timed with some lovely audience banter and a charming concept, this is a show that brings together all the elements that make character sketch comedy great.
by Laura Kressly
Stories always have monsters. They may not be literal monsters, but anything that’s scary, or an obstacle, or destabilising, or otherwise threatens the story’s hero.
Stories also always have choices. Usually a lot of them, made by the hero, that determine his or her fate.
The Play's The Thing UK 