If This Is Normal, VAULT Festival


by Zahid Fayyaz

This is a three-person play, following the lives and loves of a brother and sister, and their best friend, from when they first meet at school, to after graduation, to university. Along the way, their close friendship is threatened by various events and miscommunications.  Developed with support from the Soho Theatre development labs, this is a punchy and kinetic show, in which the hour passes by in – almost – the blink of an eye.

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World’s End, King’s Head Theatre

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by Laura Kressly

It’s 1998, 19-year-old Ben and his mum Viv are moving house again. This time, they’re cramming all their belongings into a one-bedroom ex-council flat in World’s End, Chelsea. They quickly make friends with their neighbours, Ylli and his son Besnik, who are Albanian refugees. The aspirational Viv is unfazed by the move but quiet and high-strung Ben can’t cope. He’s determined to shut himself away with his Nintendo, but the charming and confident Besnik has other ideas.

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Drip, Bush Theatre

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by Amy Toledano

In anyone fifteen years old, emotions are running high. Everything feels bigger and more extreme than it actually is, so it’s easy to be swallowed up by all the feelings. Add on top of that being queer in the North of the UK, and the teen years are bound to be an absolute rollercoaster. Drip is a lovely reminder of what it feels like to be young, and how important friendship is.

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Cuckoo, Soho Theatre


By Amy Toledano

Cuckoo by Lisa Carroll has all the elements of a wonderful coming-of-age story. Set in a small Irish town, this play packs many a punch, giving us a raw look at what it means to not fit in, to feel lonely in your hometown and how as a teenager, the need to be liked can seem more important than anything else.

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A Hundred Words for Snow, VAULT Festival

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by Laura Kressly

Rory’s taking her dad on his dream trip to the North Pole. The Geography teacher has always wanted to be a proper explorer, and Rory grew up hearing stories about historical adventurers setting out into the great unknown to discover the world.

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Joy, Theatre Royal Stratford East


An increase in conversations on diversity indicates that people are starting to come round to the importance of more than a token few woman and people of colour on our stages. White male dominance in theatre is increasingly being called out, with some small and mid-sized venues and companies leading the way on diversifying their work. But physical disability draws less attention in the diversity debate, and learning disability even less so.

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Disco Pigs, Trafalgar Studios


by guest critic Simona Negretto

In 1997 Edna Walsh’s Disco Pigs hit the world with the story of an intoxicating and obsessive friendship between two teenagers, Runt and Pig, and their crazy, oneiric, visionary night out. Today, to celebrate its 20th anniversary, Tara Finney reprises the play in a vivid production permeated by the bittersweet taste of nostalgia.

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Bunny, White Bear Theatre


Katie is a fairly average eighteen-year-old living a life busy with A-levels, uni applications and her older boyfriend, Abe. She’s not sure what she wants to do with the rest of her life, but she’s enjoying the here and now of Luton in the springtime. Her fragmented story by Jack Thorne focuses on one afternoon after school that starts out predictably, but soon spirals out of her comfort zone. The action that unfolds tests Katie’s maturity and independence, but the story is not one that is particularly interesting even with good delivery.

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Skin A Cat, Vault Festival


Without question, my best new writing discovery of 2015 was young writer Isley Lynn’s play Tether at Edinburgh Fringe. This surprising, diverse two-hander also made it into the top five of my Top 10 Shows of 2015 so I was excited to receive an invitation to her autobiographical play Skin A Cat at Vault Festival. Having been so blown away by Tether, I worried I would find her other work underwhelming, but Skin A Cat is driven by the same sort of quick-witted, emotionally honest characters on a path of discovery that Tether boasts. Skin A Cat’s not about sport, though. It’s a tale of a stubborn vagina and an epic journey of self-acceptance in a world obsessed with sex. Phenomenal performances and humour tell Alana’s struggle with vaginismus and vaginal penetration with refreshingly frank, honest writing.

Theatre (and Western culture) doesn’t shy away from heteronormative sex, but a main character that hates it due to a psychosexual disorder is most rare indeed. Beginning with her first period on holiday at age nine, we see Alana (Lydia Larson) navigate teenage sexual exploits, several boyfriends, university and her twenties as a heterosexual young woman who finds vaginal penetration excruciating to the point of impossible. Try as she might, it doesn’t happen and the older she gets, the more burdensome and upsetting her virginity becomes. Alana tells her story directly to the audience with support by the excellent Jessica Clark and Jassa Ahluwalia, who play everyone else she encounters along the way, sometimes on mics and sometimes in conventional dialogue scenes, seamlessly switching between the two styles. Larson’s fantastic, perky Alana is genuine, funny and grows up before the audience’s eyes; that and Lynn’s unfettered dialogue cause us to feel like we know her inside and out (#sorrynotsorry) at the end of the 90 minutes.

Lynn’s gift for dialogue and detailed characters within a cleverly framed style shines here, and is generally well supported by director Blythe Stewart. Despite the serious subject matter and the control vaginismus has over Alana’s life, Lynn and Stewart use humour delightfully and liberally in both the writing and staging. Sex, attempted sex and orgasms hilariously abound, along with poignancy, tenderness and dogged desperation. It’s a beautiful balance.

Holly Pigott’s set solely consists of a bed; the pressure of its associated activities dominates Alana’s life. Some of the costume choices puzzle, though. The dungarees that Clark and Ahluwalia wear are androgynous and childlike, and rather old fashioned. Larson wears layers of undergarments that creates a simultaneously sexy and exposing, and completely unsexy and concealing effect – a great manifestation of Alana’s inner conflict.

Skin A Cat evokes belly laughs and empathy, nostalgia and wonder. Though it raises awareness of a psychosexual condition, Lynn manages to not make this an “awareness” play. Instead, it’s a story about growing up, loving yourself and making friends with your body’s quirks. Excellent writing and committed performances in Skin A Cat prove Isley Lynn and the cast are ones to watch.

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