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.
Directed by Lisa Millar and choreographed by Christopher Tendai, Wonderland in Alice is an original adaptation of Lewis Carroll’s tale that explores its themes and tropes through contemporary dance and music, trippy visuals and dynamic stage design.
Ildiko is half German and half Hungarian. Rosie is half English and half Irish. The two women explore what this might mean, along with how culture, ancestry and migration, make us who we are. Their journey takes the form of an elegant cabaret similar to vintage variety TV shows. Traditional music and folk songs intersperse poignant extracts of personal narrative to make this moving patchwork of stories and anecdotes that make them who they are.
As part of The Housemates Festival, City Lighthouse Theatre Company presents CONCHA, a one-person show (written and performed by Carly Fernandez) telling a semi-autobiographical story about intersectionality of queer and immigrant experiences in the UK. After the protagonist finds out they’ve contracted an STD, they navigate past and current relationships interacting with multiple characters through voice-overs.
She shoots, she scores with this one. Waiting for her friends to arrive so they can watch Coventry FC live, we join teenager Lizzie as she takes us on a nostalgic stroll down memory lane to the mid-90s. The show is packed with classic tracks and brand references from the era you may have tried to erase from your memory whilst reminiscing about all the bad outfit choices we made as teens. It’s also full of committed dance moves, chants and audience participation.
Let ‘spirit tek yuh’ through a cycle of life and death in this time-warp through Brixton from the 1970’s to present day. Through the decades, three families try to navigate their way through an ever-changing environment. With gentrification and protests on the rise, trying to maintain dying family businesses proves difficult when they are all resistant to change.
Peyvand Sadeghian was born in Canning Town, and East London runs through her veins. Yet, there’s also the scent of something else, from somewhere far away – rose water and pomegranate, from an ancient civilisation the western world loves to demonise. She doesn’t give this much thought until she is 10 years old and first travels to Iran with her father. This is a turning point in her life; it’s when she finds she is not just one person, but two. As well as Peyvand the Londoner, she’s also Parisa the Persian girl. These two identities are set in opposition in this deliberately messy collage about having multiple citizenships and identities, and embedded with a spirit of revolution.
The play opens with three, young lads playing games. As it reaches dinner time they begin to debate whose country’s food is better: Jamaica, Cameroon or Ghana? This is the basis of Jollof Wars – an argument between two families that will see relationships broken and mended. Focusing on the engagement of a Ghanaian man to a Nigerian woman, Jollof Wars gives a witty yet poignant insight into how culture influences our choices, and in turn impacts the rest of our lives.
Kevin arrives at his last call-out for the day, a dilapidated house in the middle of a forest near where he grew up. Li Na presents him with a washing machine that no longer spins, but as Kevin attempts to repair it, there are obvious hints that the machine isn’t the only thing that’s broken. Intertwining mythical and personal histories, Julie Tsang’s horror story is a compelling blend of the supernatural and the real.