Binaural Dinner Date, Rich Mix

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by Laura Kressly

I haven’t dated since 2004. Yet despite this, I find myself sitting down with a stranger in a restaurant serving up a menu of activities, games and binaural sound prompts instead of food. These are meant to foster an intimate connection with my date, who I have just met courtesy of a cheerfully efficient stage manager/maitre d’.

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Fatty Fat Fat, Vault Festival

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by Laura Kressly

Katie Greenall is a poet, musical theatre teacher and fat. She’s pretty much always been fat, and the world hasn’t let her forget it. Her reflection on life as a fat person is hilarious and vulnerable, poetic and frank, and deserving of every cheer she gets.

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Burke and Hare, Jermyn Street Theatre

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by Laura Kressly

A story of two men who murder people in order to sell their corpses to doctors in 1820s Edinburgh shouldn’t work as a dark character comedy with music. But largely work it does and this three-hander, though somewhat structurally clumsy, is a good alternative to more typical Christmas theatre.

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War with the Newts, Bunker Theatre

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by Laura Kressly

In post-Brexit Britain, the oyster industry struggles. Work is hard and profits are low. But when oyster harvester Captain von Toch sees mysterious images on the ship’s sonar and discovers a new creature that can quickly be taught fine motor skills, he revitalises his business and changes the course of the human race’s destiny.

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Woman of the Year, The Space

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by Amy Toledano

Anna Nicholson’s Woman of the Year is a comedy cabaret that hits all the solo show marks. Incredibly high energy, brilliantly timed with some lovely audience banter and a charming concept, this is a show that brings together all the elements that make character sketch comedy great.

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Hamlet (an experience), Edinburgh Festival Fringe

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By Laura Kressly

Shakespeare’s audiences were likely to be much more engaged with theatre performances than they are today. Emily Carding far surpasses any Elizabethan or Jacobean audience participation, however. This pared down version of Hamlet by the solo artist requires about half a dozen willing audience members to take on some of the key characters in Shakespeare’s play. The rest of the audience don’t just sit and watch, either – this is a collaborate effort.

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