Greyscale, Vault Festival

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by Meredith Jones Russell

Lou and Jaz have met on Tinder and are going on a date. A simple premise, but in its use of different narratives, Greyscale highlights the complexities of relationships, sexual power and personal communication.

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Binaural Dinner Date, Rich Mix

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by Laura Kressly

I haven’t dated since 2004. Yet despite this, I find myself sitting down with a stranger in a restaurant serving up a menu of activities, games and binaural sound prompts instead of food. These are meant to foster an intimate connection with my date, who I have just met courtesy of a cheerfully efficient stage manager/maitre d’.

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Pickle Jar, Soho Theatre

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by an anonymous guest critic

A masterclass in one-woman storytelling, Pickle Jar is delicately told in the intimate setting upstairs in Soho Theatre. Staged on a minimalist set with potted plants in various locations, the setting gives little away of what the journey is we are about to experience. This places more pressure on the performer to create the world for us, but she certainly delivers.

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Eris, Bunker Theatre

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By Laura Kressly

Sean broke up with Tim because he’s just too fabulous and refuses to try to fit in. But now Sean’s sister is getting married back home in Ireland and he doesn’t have anyone to bring to the wedding that will suitably piss off his conservative, Catholic family. With his bestie Callista in tow, he embarks on one outrageous Tinder date after another as the trip home gets ever closer.

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Queens of Sheba, Edinburgh Festival Fringe

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by Laura Kressly

In 2015, four black women were turned away from the nightclub DSTRKT for being ‘too black’. It temporarily drew attention to systemic racism, but black women still encounter racism everywhere. In schools, work places, social situations and in public spaces, black women must conform to standards of behaviour and appearance that are dictated by white people. 

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Consumables, VAULT Festival

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by guest critic Gregory Forrest

A young drug-addicted porn star is looking for someone to kill and eat him. A clean-freak older man is looking for a good, tasty fantasy. So what happens to the carving knife? It’s a strong set up, and when cannibalistic fetishism is first introduced to Consumables – effectively delayed in Matthew Kyne Baskott’s’s script – the topic undoubtedly sticks in your throat.

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