by Meredith Jones Russell
Carol and Sue are lifeguards sat out on an appropriately chilly-looking British beach. They make conversation, eat biscuits, and wait for something, anything, to happen. Meanwhile a dog walker scans the sand with his metal detector, pausing occasionally to ponder such issues as the nature of buried things, or which sea creature would have the nicest garden (spoiler alert: Ringo Starr-like, he reckons it’s the octopus). Will these three come together, and how? And what, if any, will the consequences be?
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.
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.
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.
by an anonymous guest critic
First produced off-Broadway in 1987, Eric Bogosian’s brilliant drama has finally been produced in London for the first time by Covent Garden Productions and the Old Red Lion Theatre.
Things that are good about Lists for the End of the World
1. It’s funny, sad and moving all at once
2. Though the concept is simple, it’s structurally dynamic
3. It makes you laugh and think at the same time
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.
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.
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?
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.