Boys, VAULT Festival

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by guest critic Ava Davies

Boys, the inaugural piece by physical theatre group The PappyShow, is about exactly that. It’s an exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today. It’s about mess and silliness and play and pain. It’s about the complexity of selfhood – because how can one man possibly contain all these multitudes?

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The Ingenious Gentleman Don Quixote of La Mancha, VAULT Festival

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by guest critic Lauren Gauge

At it’s best The Ingenious Gentleman Don Quixote of La Mancha is a one of the most ridiculously fun, liberating examples of interactive, ensemble storytelling. Though the narrative is intrinsic and the episodic adventures of Don Quixote are told with great clarity and comedy, the novel the production is based on is not the main attraction, nor is it important that one knows the original material.

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This Beautiful Future, Yard Theatre

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by guest critic Nastazja Somers

France 1944. A young French girl Elodike runs to meet her lover, a German soldier Otto. Their love is innocent and pure, the exact opposite of the world around them. This is a place that has been torn by war, despair and hunger. Yet the young pair of lovers find time and space to make love, talk about their family and friends, and most importantly connect – despite their differences.

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Joy, Theatre Royal Stratford East

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An increase in conversations on diversity indicates that people are starting to come round to the importance of more than a token few woman and people of colour on our stages. White male dominance in theatre is increasingly being called out, with some small and mid-sized venues and companies leading the way on diversifying their work. But physical disability draws less attention in the diversity debate, and learning disability even less so.

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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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One Last Thing (For Now), Old Red Lion

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Families separated by war and conflict have kept in touch one way or another for time immemorial. Recently giving way to skype, texts and emails, letter writing is now largely neglected – but surviving relics betray heartache, fear and longing. International theatre company Althea Theatre draw on choral physical theatre and the intimate communications between family members from a range of global conflicts to create a moving tribute to love and patriotism.

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