The Ballad of the Apathetic Son and the Narcisisstic Mother, Edinburgh Festival Fringe

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by Laura Kressly

Lucy and her son Raedie have grown apart in recent years. Lucy is worried that her son lacks empathy, and Raedie thinks his mum is full of herself. Both of them love Aussie pop star Sia though, so they use her music, dance and physical theatre to explore their relationship and reconnect with each other in this real-life mother and son show.

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Katie & Pip, Edinburgh Festival Fringe

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By Laura Kressly

Some facts: Katie is 15 years old. She has a dog called Pip. When she grows up, she wants to be an animal trainer. She has an older brother called Rob, and was diagnosed with Type 1 Diabetes when she was two years old. 

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No Kids, Edinburgh Festival Fringe

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by Laura Kressly

George Mann and Nir Paldi founded Theatre Ad Infinitum over a decade ago and have toured the world with their socio-political devised work since. From sci-fi dystopias to Mexican factories, their searing productions draw on physical theatre and international performance to create distinctive shows with powerful commentary.

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A State of Mind, King’s Head Theatre

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by Laura Kressly

Billie has been around. Now in her 60s, she reflects on a life filled with sex, drugs and rock ‘n’ roll. But it’s not always been carefree – looking after her dying mother, dysfunctional relationships and a lack of parental support system meant that from her teen years she largely had to find her own way. Though she grew up in the age of free love, she also saw its dark underbelly and wants to share what she’s learnt along the way.

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Why Is the Sky Blue?, Southwark Playhouse

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by guest critic Amy Toledano

Why is the sky blue? What is there to do in Argentina? Why is the sea green? How regularly are young people in the UK and around the world watching pornography? And –  more importantly – what affect is it having on their sexual and mental development? These are just some of the questions raised in Abbey Wright’s brand new Why is the Sky Blue?

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Interview | ‘All roads lead to Tim Webb’: Peg Schuler-Armstrong on working with Oily Cart

by guest writer Steven Strauss

New York’s Lincoln Center invited UK-based Oily Cart to be one of three theatres from outside the US to perform at the Big Umbrella Festival, the first of its kind dedicated to such audiences.

In addition to Oily Cart’s Light Show, the one-month festival includes other one-off events, symposiums, and professional development opportunities for artists, arts professionals, presenters, and audience members interested in expanding the theatrical spotlight on this shamefully under-served community.

Simply put, major theatres around the world should really be funding such festivals all the time. To find out more about the process of bringing the Big Umbrella Festival to life, we interviewed Peg Schuler-Armstrong, the Director of Programming and Production for Lincoln Center Education, the organizers of the festival.

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