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The Ice Cream Boys, Jermyn Street Theatre

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by Laura Kressly

Jacob Zuma, the retired president of South Africa, is in hospital for some tests. On checking into his room he discovers his nemesis, former Minister of Intelligence Ronnie Kasrils, in the room opposite. The two men have a long and complex history that unfolds over the course of Gail Louw’s play as a dialogue-driven wrestling match. Though their relationship has plenty of material to fuel discussions and augments about revolution, women, race and South Africa’s history, the plot meanders through topics rather than telling a cohesive story. Strong performances make this an engaging production minute-by-minute, but the overall result is not satisfying.

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Amatory Asylum, The Wellington Club

by Archie Whyld

Founder and director of House of Kittens, Sophie Cohen, has created a show which promises an erotic exploration into the world of unusual sexual obsessions such as objectophilia (sexual attraction to inanimate objects) or dendrophilia (love of trees – taking tree hugging to whole new level).

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Big: The Musical, Dominion Theatre

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by Laura Kressly

It initially seems like a harmless premise – after a tween boy in early 90s New Jersey is embarrassed in front of the girl he has a crush on, he makes a wish that he was bigger on a fortune telling game at the carnival passing through town. On waking up the next morning, he discovers he’s still 12 years old, but in the body of a grown man. Though his mum chases him out of the house, his best friend Billy offers to help him track down the machine and reverse the spell.

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Fame, Peacock Theatre

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by Amy Toledano

“Fame!” – we all know the infamous song. The lyrics, “I’m gonna live forever, I’m gonna learn how to fly, HIGH” are not well known just because of the original 1980 film, but because of the subsequent television series, film remake and musicals that followed. The title song is a good one by all accounts, however this revival of the 1988 musical serves up little else that’s at its level.

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Since U Been Gone, Edinburgh Festival Fringe

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by Laura Kressly

Teddy Lamb, Jordan and Dom met in college in the ‘00s and quickly became best mates. Now, Teddy’s the only one left and they miss their old pals so much. Teddy’s life has changed a lot since then and they have so much they want to tell their old friends, like how they’ve since come out as trans femme. So they made a love letter of a show to those they’ve lost.

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Crystal Clear, Old Red Lion

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by Laura Kressly

Richard is an art dealer living a Bohemian life in the early 1980s – his London bedsit is cluttered with quirky finds from Portobello Market, he fills his time with music, wine and women. When years of not taking care of himself eventually take their toll on his body, writer Phil Young wants us to feel sorry for Richard but his misogynistic and abusive behaviour in this 1982 play makes this difficult to achieve.

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Ladylike, Arcola Theatre

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by Nastazja Somers

Casa Festival, London’s largest Latin American arts festival is an annual event that is not
to be missed. Some of the most groundbreaking and refreshing work I’ve seen in my 8 years in London was staged at Casa, including the incredible, heart-stopping 2017 production of Mendoza, a Mexican adaptation of Macbeth. British theatre reflects British society so to say a resistance to staging international work is quite present would be an understatement.

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