The End of Hope, Soho Theatre

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a co-production with the Orange Tree Theatre

You only find round beds with pink satin sheets in particular places or owned by particular people. But it’s safe to say that a woman wearing a full, fur-suited mouse costume complete with face/head mask is not one of these.

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Becoming Mohammed, Pleasance Theatre

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Director Annamiek van Elst states that, “now more than ever, there is a need to represent narratives around Islam in a positive light”. Too right. Our overly white and insular theatre is trying to diversify, but it still has a long way to go and systemic white, middle class administrations’ unconscious bias to overcome.

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Flights of Fancy, Soho Theatre

Fancy Chance was born in Korea, abandoned as an infant, adopted by a conservative American family, then moved to London. After working as a table dancer and then in a peep show in Seattle, she moved into burlesque, drag, cabaret, live art and circus. Her CV that’s more varied than her cultural make-up, Fancy’s latest endeavour is her first solo performance, Flights of Fancy. Drawing on current politics, cultural clashes and expectations, and her performance history, the show is a collection of sketches that create a quirky autobiography of sorts. Endearing and fun with a biting finale, the piece’s through-line is woolly with loose connections between individual moments.

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Bubble Schmeisis, Battersea Arts Centre

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Nick Cassenbaum grew up in London’s Jewish community and experienced all the cultural mores that go with it – Spurs games, dubious summer camps, trips to Israel and discovering his willy isn’t like the other boys’ at school. Like many young people as he got older, he hadn’t quite found his place in the world. Until he went with his grandfather, Papa Alan, to the Canning Town bathhouse.

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Chinglish, Park Theatre

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Since the Print Room came under fire for whitewashing a Howard Barker play set in China earlier this year, three notable productions featuring East Asian actors graced UK stages. At different venues and produced by different companies, they were too close in time to the Print Room’s racism and to each other to be a deliberate, unified challenge. Instead, they optimistically indicate a sea change in on-stage visibility of East Asian actors. Perhaps they will no longer be relegated to silent maids, martial artists and geeky mathematicians; instead they will take on leading roles that showcase the diverse talent of British theatre.

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Snow in Midsummer, Swan Theatre

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In 2012, The RSC drew ire for its Orphan of Zhao casting in which there were a whole three East Asian actors. Though the production went ahead, RSC artistic director Greg Doran showed willing to listen and bring about change, meeting with Equity’s Minority Ethnic Members Committee. Now, Frances Ya-Chu Cowhig’s modern adaptation of a Chinese ghost story with an entirely East Asian cast is on stage at the Swan. It’s commendable progress even though there’s still a long way to go in British theatre.

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Glockenspiel, Tristan Bates Theatre

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In the programme notes for Steven Dykes’ Glockenspiel, we are told that 40% of current personnel have been deployed more than once, and 27% of those veterans deployed to Iraq and Afghanistan suffer from anxiety disorders and/depression. A fifth of ex-service people are unemployed, and a fifth report cases of domestic violence. Male ex-service members are twice as likely to commit suicide than their non-serving peers. So it’s no secret that the US doesn’t look after its veterans very well. The play tries to look at the effects of service on those now finding their way in the civilian world, but Old Sole Theatre Company’s execution doesn’t deliver the power needed for this slowly-developing script.

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