‘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.
Two men glide around the floor on small wheeled platforms. Like children, belly down on skateboards, they relish the speed and inability to control their paths. There’s a sense of freedom and joy in their movements, but collisions soon turn happiness into hostility. The fights increase in aggression, and the audience is made complicit. No one is innocent here.
by guest critic Jo Trainor
Is there a style of comedy that Steen Raskopoulos hasn’t mastered? Having found the Australian comedian as half of improvisation duo The Bear Pack, I knew how quick witted he is, and how absurd some of his characters are but it turns out he can throw all these skills together and create side-splitting sketches too.
A British Pakistani Muslim tries to reconcile his faith and family with his love of men and clubbing.
A gay guy and his straight female bff share a flat, a mutual adoration for classic films and the occasional man.
Liver & Lung Productions’ two new plays, whilst needing further development, look at two issues that queer men of colour face. Submission is the stronger of the two works, though Sarah, Sky and Seven Other Guys includes a mix of serious and light-hearted material.
Harry receives a children’s book manuscript from an unknown writer, Heather Eames. Impressed, he wants to discuss an advance, rights and making her book the Next Big Thing, but Heather’s based outside of London, heavily pregnant and ill. It doesn’t really matter that they can’t meet in person, so they move forward with negotiating. Three books, several films and endless merchandise later, the public are desperate to meet this mysterious author. But she still refuses to meet her publisher or her fans. Harry pushes and pushes until the truth is revealed.
Though the fringe is still often gloriously lo-tech, more shows and venues are embracing and exploring the role technology can play in live performance. New Zealand-based Zanetti Productions’ Jane Doe and China Plate’s The Shape of the Pain are powerful, challenging productions that use tech in different ways from each other, but it is essential to both and enhances the productions’ impact.
by guest critic Tom Brocklehurst
WARNING: SPOILERS (but you probably won’t want to see it anyway after reading what I have to say).
I have reservations as soon as I walk into bluemouth’s new immersive party show at the Wee Red Bar. Primarily because there aren’t many people there – never a good sign for a party.
Ava is fascinated by human beings. Not just generally, but in the academic, evolutionary sense. She’s also going through a tough time and needs a break, so she’s on the pull. Jamie’s also after a distraction and the two matched on Tinder, so now, after millions of years of evolution, these two people are having dinner.
Eggs Collective are after the #bestnighteva with this joyful show modelled on the great British night out. Gold sequinned dresses, blue eyeshadow, and WKD by the bucketload are vital ingredients of this playful tribute to one of this country’s most venerated institutions.
Marnie’s a 22-year-old single mum from Bermondsey and every day is a fight at the moment. Her mum’s harbouring Marnie’s abusive ex, the guy she’s in love with has a new bird who’s using the legal system to keep them apart and her daughter’s dad isn’t around. Marnie currently lives in a woman’s refuge and the shadow of social services is hanging over her.
The Play's The Thing UK 