Big Girl, Bread & Roses Theatre

by Laura Kressly

Emily Jane Rooney longs for a world that doles out praise for being happy rather than being skinny, and where people can comfortably be their true selves. On the other hand, she wants the posh kid she works with to just fuck off. This clever use of contrast – switching from warm and vulnerable, to biting and sharp, and back again – keeps this one-woman show consistently engaging and fun despite a few underdeveloped moments that don’t fully cohere with the rest of the narrative.

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Stages, VAULT Festival

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by Bryony Rae Taylor

This is an ambitious, interactive new video-game inspired musical, melding a tale of the trials and tribulations of a contemporary family with an 8-bit video game aesthetic. Each audience member is given a ‘controller’ (a bit of card which is blue on one side and red on the other), and at certain points in the narrative, they gets a say in what direction the plot turns. Towards the latter part of the show, the narrative rewinds and you see all of the alternative paths that could have been taken.

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Sugar Coat, VAULT Festival

by Ali Wright

by Zahid Fayyaz

As the audience enters the venue, a band is onstage waiting. The five-piece, all-woman band stays there the whole time, playing punk rock in between performing the play’s scenes. They tell the story of eight years from a girl’s life spent growing up, falling in love, making a mistake, and her life falling apart due to horrific things happening to her. She then attempts the long road to recovery, with the help of her mother and therapist.

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Baaba’s Footsteps, VAULT Festival

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By Keagan Fransch

Baaba’s Footsteps begins with a striking first image: Takako, a 16-year old woman embarking on a life-changing journey in Japan, 1920. She stands upright and wide-eyed; determined, stoic, hopeful, and perhaps a little naive, Takako gazes into the middle distance, willing her new life as a picture bride into existence with a desperate intensity. It is this image that Yu, Takako’s great-granddaughter, frantically chases a hundred years later. Yu works as a television director in Tokyo, talented and busy and upwardly mobile. However, when she is suddenly fired for having an affair with a married co-worker (who is then promoted to the position she was up for), she is forced to take stock of her life, and decides to retrace her great-grandmother’s footsteps to America to hopefully regain a sense of meaning and control.

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Lòng Mẹ, VAULT Festival

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By Keagan Fransch

For many of us, the struggle to understand our mothers and the choices they’ve made is a lifelong adventure, often unearthing more questions than answers. Lòng M (a Vietnamese phrase meaning Mother’s soul/heart/love) interrogates this struggle through two very different, very personal stories told through the lens of the most questioning of all children – the child of immigrants.

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This Queer House, VAULT Festival

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by Keagan Fransch

Oli and Leah are a queer couple who have just inherited a house. Well, Oli has, and Leah as their devoted, loyal partner has come along for the ride despite her misgivings about what this milestone in normativity will do to their carefully curated queer existence. But with books going missing, wires tripping and odd sounds coming from the basement, it soon becomes clear that perhaps the house is just as unsure of them, as they are of it.

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