The Drill, Battersea Arts Centre

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by Laura Kressly

‘See it. Say it. Sorted.’

Every Londoner knows this slogan from the British Transport Police encouraging us to be vigilant as we go about our days. Be alert, and if you see something suspicious, report it.

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The Damned United, Pleasance Theatre

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By an anonymous guest critic

There are few sadder sights than two old blokes trying to describe their team scoring a goal. Yet in Red Ladder’s production of The Damned United, we are subjected to this sight a few times. And this isn’t even the worst of its crimes.

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Hansel & Gretel, Museum of Childhood

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I’ve never been to the V&A’s Museum of Childhood, let alone after hours. But in the expansive hall and gift shop, one corner has been set up as a playing space for Popup Opera’s Hansel & Gretel. There are shelves of toys and other souvenirs behind us, and sterile glass display cases behind the stage. Our cozy pocket in the grand room has a sinister gloom surrounding what with the autumn evening’s quickly fading light. It’s a suitable space for a story that mostly takes place in the woods overnight, when fairies and witches come out to play.

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Changelings, Edinburgh Festival Fringe

Mowgli, a ferocious boy-child raised by wolves in the jungle, has been kicked out of the pack. He’s trying to figure out what to do next when he meets a mysterious creature from another world – or rather, another story. Puck has been watching Mowgli with unusually keen interest, so the two might be able to help each other out.

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The Passion of the Playboy Riots, Hen & Chickens Theatre

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by guest critic Maeve Campbell

Backstage during three momentous Abbey Theatre productions, W.B Yeats’ Cathleen ni Houlihan (1902), J.M Synge’s Playboy of the Western World (1907) and Sean O’Casey’s The Plough and the Stars (1926), Yeats and Lady Gregory ponder the state of the Irish nation, and are every time interrupted by future revolutionary Patrick Pearse. An interesting idea, but not fully realised in Neil Weatherall’s The Passion of the Playboy Riots.

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Care, Courtyard Theatre

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by guest critic Harry McDonald

Time passes and we pass with it, but how do you measure getting older? Do you read wrinkles or responsibilities? Or did you never learn to read?

The Courtyard’s revival of Roy Mitchell’s Care, last produced in 1983 at the Royal Court Upstairs and now presented by the Angus McKay Foundation, interrogates a fraught young couple living in Birmingham in the 1970s. Childlike in their domestic play – bouncing between football, music,  comic books and sex – each lover attempts to survive the other’s presence over a long Easter weekend. And yet there is a third person present. Don’t children always make the scariest ghosts?

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Only Bones, Soho Theatre

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by guest critic Rebecca JS Nice

Short and sweet, classic and comical. Thomas Monckton performs a solo piece glued to his spot, centre stage beneath a low hanging lamp, which obscures his body from the shoulders up for at least half of the work. Only Bones is a classic example of body manipulation that playfully explores all the possibilities that a clown can find and make with only his body, one square metre of space, and one light. These creative boundaries have been stretched and tested but remain in performance to give the show a formal identity and context for Monckton’s shenanigans.

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The Doppel Gang, Tristan Bates Theatre

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By an anonymous guest critic

If you’re a Marx Brothers fan like myself, you might go to this production by the company JUST SOME THEATRE with some trepidation. Are these four performers going to do justice to the Brother’s brilliant form of slapstick comedy? It’s nice to report that the answer is yes. The company’s attempt to create new Marx Brothers material is actually the strongest part of this show.

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