Mouthpiece, Soho Theatre

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by Lauren Gauge

Written with deft humour, Mouthpiece is a sharp scalpel used to dissect the highly sensitive and nuanced issues of representation, consent, agency and the ongoing ignorance between the opposing ends of the class system.

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Feature | Top Ten Shows of 2018

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by Laura Kressly

Growing global discontent has been the hallmark of 2018, and 2019 is looking even worse. The last few years have marked a rise of the far-right, but theatremakers in opposition are letting audiences know it from the stage. Some of the best shows of this year show anger, fear, uncertainty or simply let the world know that enough is enough – it’s time for a fairer, more peaceful society that pays homage to all of its people.

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Love Letters from Blackpool & My Kind of Michael, Edinburgh Festival Fringe

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by guest critic Rebecca JS Nice

Four years ago, Ruth Cockburn pulled me off the street from the misery of the rain and the festival blues and into the bottom of a tapas restaurant. Cockburn was glowing amidst the bright yellow and blues of the slightly odd venue typical of the fringe festival and she manged to charm an audience more intent on sheltering from the rain than anything else. She became one of my magical fringe finds who touch your heart by chance.

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SHIFT, Edinburgh Fringe Festival

by guest critic Rebecca JS Nice

Barely Methodical Troupe members Louis Gift, Esmeralda Nikolajeff, Elihu Vazquez and Charlie Wheeller​ are bound together by their reliance on each other to lift, and catch so that very little happens independently. SHIFT plays with balance, direction and suspension by adding an object to the ensemble that has the strength and flexibility to bear weight and change gravitational paths. A giant elastic band acts as a naughty fifth body and limb, changing up the choreography and providing endless opportunities for play and experimentation.

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A herd of Zoo shows, Edinburgh Festival Fringe

by Laura Kressly

Over the last few years, Zoo has been quietly building its reputation as a venue, breaking the stranglehold that the Big Four and Summerhall have on high-quality work. With a loose focus on physical theatre and performance, they boast a programme varied in style, but also in quality.

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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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