Get Fit With Bruce Willis, online

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by Bryony Rae Taylor

A Faustian farce, Get Fit With Bruce Willis stars Chris Brannick as Mike, an ageing Jimmy Somerville impersonator, on a quest to find fame and fortune. His wife (Karen Kirkup) is looking outside of their marriage for lust and excitement. After figuring out he’s more Harry Hill than Jimmy Somerville in the looks department, he decides to re-brand himself somewhere in the middle – as Bruce Willis.

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Gobby, VAULT Festival

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by Zahid Fayyaz

Fresh from a well-received run at the Edinburgh Festival Fringe, this is the story of two years of change in one woman’s life, written and performed by actor Jodie Irvine. It’s told through the lens of five parties within that time period.

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Feature | Favourite Theatre Moments of 2019

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by Laura Kressly

Determining a Top 10 has become increasingly troublesome what with the amount of work reviewed by guest critics and the even larger amount that we get invited to but aren’t able to see. So, rather than a more traditional ‘best-of’ list, here’s a totally subjective list of a few of my favourite things – in no particular order – from theatre and performance in 2019.

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Post Popular, Soho Theatre

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by Laura Kressly

I feel for the stage manager that has to coordinate the clean-up after this show. Soil, leaves, ketchup, chocolate wrappers, cherry bakewell crumbs, fake flowers and bodily fluids are everywhere. Lucy McCormick is certainly the queen of filth. She’s also ruler of the absurd, grotesque and biting social commentary. Though her previous show Triple Threat is more sophisticated than this one, comedy and vulgarity join forces as McCormick chronicles history’s strong women in the hopes of finding herself a hero.

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A Wake in Progress, Edinburgh Festival Fringe

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by Meredith Jones Russell

Trigger warnings have been the subject of some debate in theatre circles, but if ever there was a perfect example of the right time to use one, it is in A Wake in Progress. Not only because it is easily and deftly woven into the piece by master of ceremonies Amy Fleming without spoilers or awkward interjections, but also because the point of this show is absolutely not to make anyone feel uncomfortable or unhappy about death. Quite the opposite.

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Cruel Intentions: The Musical, Edinburgh Festival Fringe

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by Meredith Jones Russell

Does the world need a musical version of 1999 American teen flick Cruel Intentions? Probably not, but by God it’s entertaining.

Packing out the Underbelly’s Palais du Variete, this is closer to rock concert than musical. The mainly millennial audience is practically word perfect on both the script, which has been cut for length but otherwise largely unaltered from the screenplay, and the ‘00s hits that are peppered through the plot, often with the flimsiest justification.

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I Wish My Life Were Like a Musical, Edinburgh Festival Fringe

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by Meredith Jones Russell

Would life really be better if it were a musical? Alexander S. Bermange’s revue show suggests it’s not all lipstick grins and audience adulation. Featuring four performers and Bermange himself on piano, the show tells their story as struggling artists, going from drama school dreams to the disappointing reality of auditions, understudying, second jobs, debilitating dance routines, low pay and backstage backstabbing.

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How to Save a Rock, Edinburgh Festival Fringe

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By Meredith Jones Russell

An earnest entreaty to save our planet, How to Save a Rock is a hugely well-intentioned and charming play which just slightly runs out of steam. It’s packed full of other forms of energy, however, as the whole show claims to be carbon neutral, powered by an on-stage bike and solar power.

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