Can violent criminals be rehabilitated, and can their victims ever forgive them? The Listening Room says yes.
This verbatim piece tells the stories of three violent crimes, primarily from the perspective of the perpetrators. Some character background sets the scene for climactic moments where they commit their offences, but at least half of each of the five characters’ stories spotlights the rehabilitation process and mediation between the assailants and their victims.
by guest critic Maeve Ryan
In her small Wiltshire village, Jaz says she’s ‘as black as it goes’. This is a beautifully made one woman show in which Natasha Marshall plays all the characters, but chiefly Jaz, a 17-year-young woman of mixed African and British parentage. Half Breed concerns self-identity and how self-acceptance can be the root to accepting others. It also concerns the deep intensity of young female friendship, for it is also a love story between Jaz and her best friend Brogan.
Asterion wanders through the night, in a world that doesn’t really fit them. The minotaur of Greek myth, Asterion is the only one of their kind to exist. Asterion is bull-ish, neither human nor bull. Or, both human and bull. Either way, they’re on the hunt for adventure and way out of a labyrinth.
by guest critic Gregory Forrest
The Rose is a unique venue: part studio theatre, part archaeological dig. Taking your seat to begin the performance, you are met with a cool breeze of black. Some sense of space exists around you, yet is imperceptible. Then, as the play begins, you are suddenly met with lights and depth and a sheer drop to a still underground lake. For this moment alone, The Rose is worth a look.
An actor stands on stage. They are handed a script they have never read before. A frank look at suicide, choice and learned behaviour unfolds after a menagerie of animal impressions.
An actor stands on stage. They are handed a script they have never read before. An hour of hilarious and revealing Mad Libs ensues.
An actor stands on stage. They are handed a script they have never read before. It’s a recipe that the actor must prepare whilst reflecting on the cultural importance and ritual of food.
An actor stands on stage. On the screen behind them, a script is projected they have never read before. Then there’s a live feed, a language lesson and a tender reflection on the meaning of home.
You’re fast asleep in your bed, in a small English town. Then some mysterious noises outside wake you, and on looking out your window you discover a gang of pirates is trying to steal your family home. What do you do?
Ask to join them, of course!
by guest critic Maeve Campbell
Shon Dale-Jones and Hoipolloi’s Me and Robin Hood has admirable intentions in aiming to raise awareness and money for charity ‘Street Child’. Dale-Jones’ one-man show is a personal narrative, part biography and part discussion on class and wealth divisions in Britain. The mythical medieval do-gooder is a central figure in the piece, an inspiration and obsession for the socially conflicted Dale-Jones.