A Lesson From Aloes, Finborough Theatre

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by Laura Kressly

Peter and Gladys pass their days tending potted plants and journaling. Life is quiet as they reflect on their lengthy pasts, stretching out behind them like toxic shadows. Neither are happy in their shabby, all-white suburb tense with apartheid-era legislation, but a visitor that evening may just be the thing they need.

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Time is Love/Tiempo es Amor, Finborough Theatre

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by Laura Kressly

There’s so much humanity in the seedy underbellies of cities that’s easily sneered at by the white middle classes. Yet sex workers and drug dealers, corrupt cops and pterodactyls in Che Walker’s LA from becoming a sterile, corporate hell occupied solely by the rich.

Yes, pterodactyls.

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A Funny Thing Happened On the Way to the Gynaecologic Oncology Unit At Memorial Sloan Kettering Cancer Of New York City, Finborough Theatre

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by Amy Toledano

Although this show has an incredibly long title, it is the only thing about it that feels drawn out. This comedy about a cancer ward in New York city is a touching tale of unlikely friendship and the broken relationships and the ways in which we forgive in the face of tragedy.

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Finishing the Picture, Finborough Theatre

by an anonymous guest critic

An insight into the stark realities of the film industry, the Finborough Theatre’s production of Finishing the Picture is a perfect mix of grit and comedy. Loosely based on Arthur Miller’s then-wife Marilyn Monroe’s experience filming The Misfits  in 1961, this is the play’s first European premiere and is harrowingly apt in a era of #MeToo allegations.

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Jam, Finborough Theatre

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by guest critic Simona Negretto

There is always something unsettling and creepy about our memories of school. Almost everyone had “that” teacher who tends to reappear as a projection of our fears during stormy nights all through our life. But on those nights, teachers might find students in their nightmares too.

Matt Parvin’s claustrophobic play, Jam, shows how it is when those incubi become real. In a countryside school on a Thursday evening, Bella’s plans to leave her classroom are changed by the arrival of Kane, an ex-pupil with ADHD who haunted her past and forced her to rebuild her life elsewhere. He comes seeking confrontation, and old wounds, never quite healed, are reopened.

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The Trackers of Oxyrhynchus, Finborough Theatre

trackers

In the first part of Tony Harrison’s The Trackers of Oxyrhynchus, Victorian archaeologist Grenfell struts and frets around a group of silent Egyptians sifting through scraps of papyrus. He maniacally monologues on his quest to find Sophocles’ lost plays and works himself into such a frenzy that he begins to hallucinate. This triggers an inexplicable leap to ancient Greece where a satyr play is acted out and cloth phalluses abound, then another transition to a modern day street populated by homeless men.

Though there is some thematic consistency, the three stories are otherwise unrelated by plot and style. What initially appears to be a play-within-a-play turns out to be a disjointed and disappointing triptych, much like the fragments of papyrus that litter the stage.

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