DeadClub™, The Place

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by guest critic Archie Whyld

Co-directors Frauke Requardt and David Rosenberg have created a piece of theatre which might be the closest I have ever felt to being in a dream whilst awake and not under the influence of psychoactive drugs.

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Hot Brown Honey, Edinburgh Festival Fringe

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‘The revolution is childcare!’ proclaims Busty Beatz from the top of her honeycomb mountain. The revolution also honours people from First Nations around the world, respects women of colour and escapes the constraints of imperialism. It’s owning your body, your sexuality and your race. It is Hot Brown Honey, the radical feminist cabaret from Australian women of colour.

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Fall Out, Edinburgh Festival Fringe

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by guest critic Rebecca JS Nice

Fall Out is one of very few solely tap shows at Edinburgh Festival Fringe. Old Kent Road are a London-based company of hoofers whose vocabulary is developed out of improvisation in response to a jazz accompaniment. The results mean the dancers’ tap shoes become a percussive instrument that create a highly complex jazz melody over the top of their band. Rhythm tap is far more mathematic than the ballroom based jazz tap and musical theatre styles. These performers are musicians as well as dancers. Above all, they are super-cool.

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The Enchanted, Bunker Theatre

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York and Arden are two men on America’s death row waiting to die. An investigator, known to the prisoners as The Lady, works night and day to save their lives. The similarly unnamed chaplain does the same to save their souls. As the two piece together the pasts of the men about to meet their deaths, a physical theatre ensemble and extracts from Rene Denfeld’s poetic novel The Enchanted creates a dreamlike, romanticised view of poverty-stricken rural America and the killers it breeds.

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Ponyboy Curtis vs., The Yard

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Trying to write about Chris Goode’s latest Ponyboy Curtis show vs. is like trying to fit a hurricane into a canning jar. The energy, love and freedom on the Yard’s stage is irrevocably alive and unrestrained, and trying to pin this one-of-a-kind butterfly onto a page kills it a little, or a lot. So take this review as a tiny sample of an extravagant banquet that can only be fully experienced directly.

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35 Amici Drive, Lyric Hammersmith

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Council block 35 Amici Drive and the pub attached to it are earmarked for demolition. Luxury flats and commercial retail units will replace it, and plans to rehouse current residents are vague. Money-grubbing developers and local counsellors push for “positive change” but those who live there are having none of it.

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Nuclear War, Royal Court

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In his introduction to the Nuclear War text, Simon Stephens explains that as a playwright, he does not want directors and performers to revere him. Rather, he wants them to see his scripts as a starting point for their own creativity. The third line of the stage directions is, ‘a series of suggestions for a piece of theatre’; from these suggestions, choreographer-director Imogen Knight shapes a haunting landscape of physicalised despair.

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